Farbraum

What connects them: organic rhythms & texture

Both paintings have something light, atmospheric about them. The soft edges of the colour forms let the surfaces breathe — almost like a glimpse of natural phenomena. My work evokes water, moss or tectonic layers; Sandra's suggests mist, evening light or weathering.

At the same time, neither work lets the eye drift into vagueness. Both use deliberate densities as anchors: in my case the deep blue at the bottom and the dense green at the top, in Sandra's the almost black, smoky corners. This gives the atmospheric quality weight and stability.

Vertical balance and breathing

My work breathes through the visible paper edge. The forms are centred and stack vertically like a floating sculpture. Within the soft colour forms a grainy, analogue texture appears — as if from chalk or rough paint application. The line feels its way along these textures, holding the floating forms gently together. In terms of colour I work in a clear, cool range of blue, turquoise and green.

All-over space and tectonic grid

Sandra uses an all-over principle: the painting is filled to its very edges and reads like a fragment of an infinitely larger wall or atmosphere. While my lines flow purely organically, Sandra also introduces almost right-angled, vertical and horizontal strokes — a delicate, architectural grid that lends the atmosphere a subliminal, constructed stability. The calm, earthy, warm and sandy colour space is radically punctuated by intense, almost luminous pink accents.

In my work, line and colour merge into an organic, vertically balanced natural event that breathes on the page. Sandra builds an atmospheric colour field that fills the entire surface, traversed by an independent system of floating, partly geometric lines and artificial colour accents.