Touching How and Why and Where
The established German artist is known for her use of a compressor-driven spraying technique to blast vividly coloured paint across panels, objects, architectural interiors and exteriors, and even entire landscapes. Her new series of studio paintings (as she prepares for on-site works) is testament to her artistic practice. In these spectacular yet nuanced explorations of physical gesture and sensory effect, she expands the scope and potential of painting beyond its conventional territories. Conducting a kind of controlled improvisation, she sparks new interactions between hand, eye, material, and site.
In making the works on view in Hong Kong, the artist took an open-ended approach to process by eschewing the use of stencils and other items. Each new canvas is marked by a cluster of sprayed lines of colour that begins outside the canvas itself. Appearing to overlap and interweave, these ribbons of bright orange, red, green, and blue are reminiscent of tangles of wire or wool. This new presentation follows her exhibition ‘Katharina Grosse Studio Paintings, 1988–2022: Returns, Revisions, Inventions’, which began its tour at the Mildred Lane Kemper Art Museum in St. Louis in September 2022, and is now on view at the Kunstmuseum Bern until June 25, 2023.