Alex F.

Modernity differs from other epochs in its fragmentary character. Since the early nineteenth century, artificial ruins, torsos, even the blurred cave drawings from the origins of mankind's history appear in the paintings of the painters. These fragments can be read as symbols of transience and melancholy. In the twentieth century, art has undergone a further fundamental change with the emergence of the great abstract directions. The language of colour and the expressive power of the forms gain their own life.

In her works, the Hamburg artist Alex effectively combines these different aspects. At first glance, her work reminds of renaissance frescoes that have been uncovered and fixed on museum slabs. The form of the "tondo", for example, of the round image, which became the determining form of its new cycle, originates from the Renaissance. This form emerged in the High Renaissance in Tuscany.

Also she deliberately places references to art history. They appear as tiny traces in the sculptures. Above all, however, it is the mysterious aura, which is revealed in the superimposed layers of colour - their exciting interplay, which gives rise to magical rooms when viewed for a long time. Alex uses the earth tones with a preference, mixed with a chalky white, which emphasises the fresco- like structure of her paintings.

This setup is very lengthy and sensitive. Alex goes exactly the opposite way as the restorer of frescos in the churches or palaces of Italy. As this layer-by-layer, so as to snatch away the valuable fragments of time, it builds up layer by layer to produce an atmospheric dense expression. The impression created by this is similar to that of the frescoed fresco. But what is done in the case of a historical building by the ravages of time is reproduced by the artist in the studio with authentic materials.

The intention of Alex F. is not to revive the works of the Renaissance in the sense of the work of the restorer. Rather, it is about the particular character of contemporary art creation, which is based on the free invention, the character of the material, and the artistic and technical skill. A lot of unconsciousness comes into play, because it is inspired by the dynamic dynamics of the painting process and is only consciously controlled by the user.

The museum elegance of her works is created by the interaction of these different factors, which, however, do not interfere with one another. Fractions and recesses are deliberately kept open and not integrated. Thus a kind of "Infinito" emerges, whereby the work process, which has given these works their characteristic vitality, remains comprehensible to the viewer.

- Dr. Helmut Orpel