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Excerpt of "Die Subtilität des Zeichnerischen"

by Suzanne Kappeler

published in Neue Zürcher Zeitung, 21. Januar 2013

about the exhibition „Fünf Frauen am Werk“ at Kunstzeughaus, Rapperswil-Jona (CH)

 

Farbe und Licht Ganz der Farbe und dem Licht gewidmet sind due Arbeiten von Stefanie Eins, die längere Zeit in Ländern wie Südafrika, Namibia, Israel und Griechenland lebte. Zu sehen sind viele kleinformatige Arbeiten in Ölkreide, Tusche, Bleistift und als Collagen, die architektonische Strukturen aus locker gesetzten Rechtecken zeigen. Grün, Blau, Gelb und Rot bilden einen spannungsvollen Akkord, den die Künstlerin als Gegenpol zur Leere der Wüste Namibias versteht. Im Zyklus ‚Licht und Gefäss‘ (2012) tauchen auch organische Formen auf, und es werden gar trockene Blätter von Eukalyptus- und Olivenbäumen in die Malerei integriert. Diese Blätter erzählen jeweils eine Geschichte, die der Betrachter selbst entschlüsseln soll.

https://www.nzz.ch/zuerich/zuercher_kultur/die-subtilitaet-des-zeichnerischen-1.17950597

The Simultaneity of the Non-contemporaneous

December 2019
by Valeska Marina Stach

Artist and Writer

www.valeskamarinastach.de

The painter Stefanie Eins creates structures and leaves them, she lets go of one structure in order to set it up new again. The system she is developing in her art work is one of personal order, which arises within the perception of certain elements in her surroundings. While analyzing the outside she always relates to inner processes. In her paintings Stefanie Eins is breaking through a fixed structure by making up her own, still using the same shapes she wants to transform throughout adding different forms to them: Round and square ones are interacting with each other. The main motive is the quadrat which focuses on the unification of content. Patterns are made up from intuitive but thoughtful settings: lines and surfaces - color and void, painted and drawn areas. The artist uses the brush and the pencil while balancing the qualities of both within one work: fragments of conscious perception and relics of the unknown are meeting. The fragile border between a conceptual language and speaking within sensual phenomena becomes visual.

The relation of proportions can be displaced and shifted from balance into a dynamic agitation. The one who is looking at the paintings will feel slightly but clearly touched: by the contradiction on the one hand and the smooth interaction of the forms on the other hand. There is something tickling on the edge, untwined from the inside out, in every painting. Stefanie Eins acquires space and time within her work: the simultaneity of the non-contemporaneous. The pictures are painted in many layers, paint is covered with paint until the setting is how it has to be: align with the artist’s understanding of her entirety’s definition.

                                                                                                                                                                             vms