Ein Aneignungsprozess


Kommunale Galerie Berlin

W Sternstunde 1979 Img162

“In the painting, Sternstunde (Magic Moment), the signs themselves have become lifelike creatures. The tension which emanates from the gestalt phenomena at the centre of the painting calls to mind the drumming of an all-encompassing Walpurgis night, which indeed brings us back to the present moment. The painting’s atmosphere is uncanny, and it dares us to exalt in order to deal with the summoned demons nearby. The spatial dimension of the painting, from which the demons arise, has nothing to do with our everyday reality. Instead it is the illusory space of a brown night, which stemming from our unconscious, is brought to light and then makes itself known – as the only possibility for an immediate message from the real life of strange gods. In the bottom left of the painting, contours of a temple are revealed from out of the silvery, milky haze. Here is the transmitter, which releases the ghosts. In the right corner a figure of an armless jointed doll crouches amidst a bright blue night of lightning. The doll’s head is held high; her head leans backwards, mouth open wide and with inward looking eyes. The figure is a likeness for both the artist and the viewer and becomes an apparition that has materialised from the submerged fray of ghostly figures, in a dramatic ascent into the light. Correspondingly, it symbolises the real-life involvement of the artist’s process, which we see unfolding in the painting. Sabine Franek-Koch’s recent Maya series is illustrative of the artistic interpretation that defines her oeuvre, correspondingly apparent in earlier paintings, in her Egyptian motifs and also in the vitrines containing Mediterranean relics and found objects from French gravesites. These are all daydreams into the submerged zones of the history of consciousness.” 


Eberhard Roters in MAYA SPUREN ZEICHEN DEUTUN BILDER (excerpt)