• Korrektur II, 2018
    Polyptychon (4 Elemente), diverse Weiß- und Farbstifte, Paper cut-out auf Papier, gesamt 250 x 300 cm.
  • Ankunft, 2019/20
    Diptychon, diverse Weiß- und Farbstifte, Paper cut-out auf Papier, gesamt 250 x 300 cm.
  • Die Erben 36, 2017
    Tinte und Acryl auf Papier, 30 x 25 cm.
  • Die Erbe 40, 2018
    Diverse Weiß- und Farbstifte, Steine, Aluminium, Paper cut-out auf Papier, 30 x 25 cm.
  • Die Erben 42, 2019
    Diverse Weiß- und Farbstifte, Kupfer und Paper cut-out auf Papier, 40 x 30 cm.
  • Die Erben 43, 2019
    Verschiedene Weißstifte, Acryl, Paper cut-out auf Papier, 40 x 30 cm.
  • Die Erben 44, 2019
    Graphit, Acryl, Tinte auf Papier, 30 x 25 cm.
  • Die Erben 47, 2019
    Graphit, Messing und Paper cut-out auf Papier, 30 x 25 cm.

  • Die Erben 51, 2020
    Graphit, Farbstifte, Kupfer und Paper cut-out auf Papier, 30 x 25 cm.
  • Phantom, 2019
    Graphit, Acryl, Tinte, Aluminium und Paper cut-out auf Papier, 100 x 70 cm.

  • The Mirror II, 2018
    Diverse Weiß- und Farbstifte, Acryl, Paper cut-out auf Papier, 100 x 70 cm.

About the exhibition

The Berlin artist Maike Freess (* 1965) deals with memories and our ideal, immaterial heritage in her oeuvre. Where do we get our motivation from? How do dimming down and also the correction of negative memories work as a successful strategy for the here and now?

Memory and perception are also thematically determining factors in the series “The Heirs”. Because it is the human spirit in all its facets that is the inspiration for the artist's work. With the paper cut-outs she developed, Freess has developed an instrument to artistically implement the uncovering of backgrounds, hidden memories and influences. These fault lines are the defining elements of Freess ‘work. Cuts and gaps as empty pictorial spaces form a stylistic element that, as black or white 'empty' lines, bursts the pictorial space or can become architectural interventions or three-dimensional spatial drawings.

Maike Freess Motivation lies in the desire to express what can be seen behind the façade of each person. To do this, she takes off the mask on behalf of her figures to give us a look inside. Her representations therefore never only show the one recognizable person, but rather also the underlying influences that flow through and overlay the image shown. Produced from the subconscious, her works represent the gaps in our memory, in our psyche. They stand for the unexpected, the unknown and the incalculable events with which we are constantly confronted.

Information

Past exhibitions