Dorothee Liebscher's paintings depict imaginary views of architectural and landscape spaces, which often portray run-down, abandoned buildings, partly overgrown by vegetation. For the artist, who lives and works in Leipzig, the investigation into spatial themes holds central significance. The viewer adopts the image protagonist role and experiences the architectural structures. Insinuated landscape views, as well as a deep horizon, convey a great sense of depth. This results in thoughtfully constructed spaces that interpret reality subjectively and reveal to the viewer a hidden world that always offers new mysteries and raises questions. The paintings feature a specific color palette and exist in a field of tension between nostalgia and utopia. Partially surreal pictorial worlds emerge on the canvas. Through the intertwining of reality, memory, and fiction, spatial compositions emerge that invite the viewer to embark on his or her own exploration of an unfamiliar, yet at the same time seemingly familiar world.
The work by the master's graduate, who studied at Sotheby's Institute of Art / Contemporary Art Department, includes paintings as well as objects and installations. The dynamic works embody a geometric diligence, and the artist, who lives and works in Leipzig, values precision. Her works exist in a realm of confusion and structure, developing a subtle life of their own. Rink's theme embraces fragility and destruction, sense and sensuality, and an internal vision of an external reality. She is evidently inspired by the Russian Constructivists, but also by contemporary architecture. Her visual language alternates between a two- and three-dimensionality. She works in a polychrome and thoroughly painterly manner, making use of perspective through overlaps and superimpositions of geometric, cubic, and fragile forms, which are juxtaposed with elements that break out of their forms. By overcoming proportions, yet consistently maintaining them, the paintings appear to be fragments of dreams. Oskar Rink's works are concerned with clarity, order, and organization, which are repeatedly broken and reflected in her painterly process.
In Miriam Vlaming's large-scale paintings in egg tempera, the painter breaks down the boundaries between man and nature as well as past and reality. She creates a harmonious symbiosis between these supposed opposites through hazy layers created by the application and removal of paint. In doing so, she allows the depicted figures to emerge from a natural, dreamlike environment. Through this aesthetic, Vlaming opens the viewer's eyes to the multifaceted aspects and philosophical questions of being human, which she addresses in her paintings. Miriam Vlaming always has the overall picture in mind in her mysterious pictorial worlds. She plays with ambiguous metaphors. “Disruptions and contradictions interest me ... the moment after or before something has happened...not the history." Her egg tempera paintings satisfy a deep human need for knowledge. The important member of the New Leipzig School studied at times with Neo Rauch. She was a master’s student under the direction of Arno Rink and is represented in numerous public and private collections.