Art Karlsruhe

Constantin Schroeder's figurative paintings are impressive, moving images with a profound sense of depth. His pictorial protagonists are fascinating characters that never let us go. Internalizing the present with all its complexities, he uses a very reduced color palette. Mostly executed in large formats, the scenes captivate the viewer with their characteristic narratives. Schroeder reaches deep into the archive of the human psyche. His works reveal an enigmatic iconography, which includes young heroes posing interpersonal mysteries. The artist, who lives and works in Berlin and studied theology, philosophy, and art history, also illuminates the darker sides of life in an extraordinary, hyper-realistic style. These are powerful images that captivate us with their enigmatic pictorial content. Schroeder leaves some parts of the image white, which allows the viewer to develop his or her own interpretation and understanding of the image through open associations.

Leif Trenker, a graduate of the Städelschule in Frankfurt, is considered an important initiator of the New Figuration movement in Germany. In his works, which oscillate between realism and surrealism, the artist, who lives and works in Cologne, examines the effect of light and shadow on architecture, landscapes, and figures. There is deliberately no clear differentiation between fiction and reality, which becomes evident in the expressive and intentionally overdriven use of color in his pictorial worlds. Thus, through a poetic sense of reverie, he disrupts the ordinary, architectural, or natural space and draws in an exciting, fantastical dimension, where the mere visual quality fascinates and at the same time represents his unique style. His paintings on birch wood are instantaneous moments, where figures are mostly depicted in the foreground. Thematically, his work focuses on childhood memories, street and nature views, and scenes of everyday life and parties.

"Condensation is the starting point of my painting."

- Leszek Skurski

This guiding principle forms the foundation upon which Leszek Skurski builds his visual worlds. His journey began at the Academy of Fine Arts in Gdańsk, where, at the age of just 22, he was honored with the Polish State Prize for Painting. Over the decades, he has perfected a signature style that moves between the fleeting and the enduring, and today is recognized as Neo-Impressionism. His works are the result of heightened attentiveness and a persistent commitment to decisions that, once placed on the canvas, must stand on their own.

In these compositions, white becomes the true protagonist. It is not an empty background, but a pulsating, expansive surface that lays bare every movement and mark without protection. What remains in this space has passed the test of reduction. Skurski’s figures, often caught in waiting or transition, do not embody mere actions but a quiet, existential presence. By letting the faces recede in favor of posture, the viewer’s gaze is freed to perceive a being that transcends the individual.

It is this deliberate omission of detail that conjures a calm in which time loses its usual pace. Fleeting moments of daily life, memories of what has been seen, and deep sensations merge here until they coalesce into a single, concentrated situation. A space emerges in which the everyday loses its casualness and acquires a timeless validity. What remains is the essential, a silent and powerful assertion of the moment that resonates far beyond the edges of the canvas.

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.