quART - Farbe, Fäche, Form

We cordially invite you to the exhibition quART. The opening takes place on Saturday, May 30 at 7 p.m. Four artist members, Renate Göhlich, Sandra Rau, Ruth Ohlig-Kiesel, and Sascha Marx, will present their works to the public.

For Renate Göhlich, abstract painting is about experimenting with intense colors and haptic surfaces. She primarily works on a large scale in acrylic, sometimes combined with oil and other materials. Layers are built up, transformed, and abstracted using brushes, spatulas, and various objects until a lively image emerges, where colors and structures meet to create a harmonious tension. The goal is not to depict a real world but to make one's own visual energy palpable.

The starting point of Sandra Rau's abstract works is a color experiment that unfolds in an interplay of intuition and reflection over several phases of work. In this process, the artist places special importance on composition and color effect. Overpainting, reductions, and condensations are integral parts of her process. The artist's unique language of form and her characteristic application of color give the intensely colorful works their special visual character. Sandra Rau aims to inspire viewers to develop their own interpretations and stories, thereby enriching their everyday lives.

The works of Ruth Ohlig-Kiesel emerge from a search. She is particularly interested in organic natural materials such as plant parts, found objects, and fragments that often go unnoticed. In the studio, these materials are isolated and transformed into new contexts. Assemblages and objects are created, as well as motif elements that serve photographic and experimental processes. Characteristic is the juxtaposition of grown form and imposed order, creating a field of tension between natural diversity and formal structure.

Starting from a reflection on the nature surrounding us, the painter Sascha Marx is first guided by color. She layers sheets over sheets, obscures, unveils again, explores color tones, destroys harmonious areas, and gives gestural impulses to leave space for the subconscious. In this way, the painting gradually approaches a state that evokes something familiar in itself and the viewer, perhaps a feeling of home in an existing wilderness, an undecided state of suspension, balanced unrest.

(Press text by Miriam Maslowski)