Sofie BIRD MØLLER (Denmark, 1974) studied in Munich with Günther Förg, then in London, before moving to Berlin. She uses paint to interfere with (fashion-) photography and other images of identity. The gesture of painting and the reaction to an existing image is essential to the work. http://www.sofiebird.com/
Valérie FAVRE (Switzerland, 1959) established herself in France before moving to Berlin in the 1990’s. Currently she is a professor at Berlin’s University of Arts (UdK). In her painting Favre is balancing between a conceptual approach and an expressionistic, intuitive way of working. In a recent series, exhibited at the Neue Berliner Kunstverein in Berlin (summer 2013), Favre explored the subject of suicide in a series of more then 100 small paintings.www.valeriefavre.net
Bernard FRIZE (France, 1954) once described his work in three words: “The brush paints.” In his conceptual approach, the brushstroke is traceable and appears as the main motive of the work. Frize transforms painting into performance, with the brush as actor. Emotion and feelings have no place in this work. Frize came to Berlin on a stipend of the DAAD and works both in Paris and in Berlin.www.bernardfrize.com
Maarten JANSSEN (Rijswijk, The Netherlands, 1960) uses systems with dice or playing cards to make decisions about the color and form of a work, thus objectifying the authorship. His minimal, reduced paintings contain a high degree of abstraction, but at the same time appear basic and very concrete. On occasion, the painting crosses into sculpture or installation. Janssen was a resident at the Künstlerhaus Bethanien in Berlin and works both in Rotterdam and Berlin.www.maartenjanssenmaartenjanssen.nl
Mark LAMMERT (Berlin, East-Germany, 1960) creates work that is just as much about what is visible on the surface as it is about what is concealed beneath many layers of paint. Blots, drawing and scratches on a white, black or colored surface show suggestions of dramatic, violent figuration. The work develops in a dialogue with older and modern masters like Rembrandt and Soutine. Lammert is a professor at the Universität der Künste (UdK) in Berlin.
Michael MARKWICK (Grand Rapids, Michigan, United States, 1974) uses nature as a motive in the creation of his works. His interest is not only in the image of nature, but also in the invisible and underlying patterns, and the cycle of life that can be experienced in nature. His works develop out of a gestural, almost performative way of painting. Markwick received his M.F.A. from Indiana University in Bloomington and moved to The Netherlands before settling in Berlin.www.michaelmarkwick.com
Adriana MOLDER (Lisbon, Portugal, 1975) regards herself as a detective of images, using various sources for her main motive: the human face. Characteristic is her use of thin tracing paper, on which china ink not only follows the artist’s hand but also tends to run by itself and form accidental blots, which “interfere” in a meaningful way with the image. Her interest in the art of the early 20th century and in German Expressionistic cinema are among the reasons that brought her to Berlin.www.adrianamolder.com
Katharina OTTO (Weilburg, West-Germany, 1979) works on small-scale panels on which fragments of human bodies appear. Masks and clothes hide the full identity of the figures and create secrecy. There is a delicate balance between recognizable “bodyparts” and colored form as such.The palette is reduced, the brush strokes seem to let through the light that comes from behind. Otto studied with Thomas Zipp at the Universität der Künste.
Jorge QUEIROZ (Lisbon, Portugal, 1966) has developed through the years a unique handwriting, in which marks appear both consciously and accidentally. Architectural and landscape-like motives create, together with fragments of the human figure, associative compositions that appear as a state of mind rather than depicting well-defined scenery. Queiroz transitioned to using oil on canvas in 2012 after working predominantly on paper.
Thomas SCHEIBITZ (Radeberg, East-Germany, 1968) has a high in interest in the “double,” or the question in which way a visual motive can be read and recognized. The work grows out of a large archive of all kinds of clippings in which formal similarities are researched. In grand gestures and bright colors, Scheibitz’s paintings appear light and have a feeling of pop art. However, they are very precise and concentrated in form, containing a hidden dialogue with older masters.www.thomasscheibitz.de