Since the mid-1990s Christine Krämer created, through a decade, a series of paintings of extraordinary presence. The pictures, all with the same mid-sized format, show striking as well as puzzling structures that are hardly to define. The forms remind us of something vivid-organic, such as cells, arteries or corpuscles, or they could be snakes or amoebas, or wickerwork – or simply beautiful ornamentation. The motifs follow a strict order, yet the artist takes the liberty to break up these clear structures again and again through little deviations and the liveliness of her brushwork.
It seems reasonable to comprehend this tension between a given grid and individual deviations as an allegory of our existence: We all follow, more or less, principles that define our personalities as well as our society; and yet each life is unique. The strict flatness of the paintings does not allow us to explore a space behind the surface; thus it could be a symbol for our endeavor to detect the secret of this grid – life – and the realization that this is hardly, if ever, possible. In a metaphor she talks about “the desire to reach a coast beyond the horizon even though there is no hope of finding warmth or life out there, looking up to the sky where the blue of the earth’s atmosphere turns to black.” No doubt: Christine Krämer is a romantic.
Thus it might be surprising that in the last couple of years the artist has turned to the „coolest“ medium of our time: she is producing works that she calls „computations“. Though technically completely different, these works do continue her previous ideas, albeit modified. The computations represent artificial landscapes that go beyond our habitual, three-dimensional experience of the world, they create a new reality. The theoretical physicist Andreas Krämer has developed mathematical models that are being transformed into images, supported by the computer program Ray Tracer. The beauty of these model finds its correspondence in Christine Krämer’s pictures that shift between reality and abstraction and display of a new kind of synthetic, cosmic landscape.
„In her computations the artist searches for new forms of spacial inconsistency, spacial contradictions and spacial uncertainties. Conceptually, the work deals with ambiguities, double meanings that have the capacity to jolt our perception of three-dimensiolan space.“ (Christoph Tannert)
|1959||born in Copenhagen|
|1983-89||studies Free Painting at Hochschule der Künste Berlin (HdK), Master degree|
|Lives in Berlin|
|1991||Goldrausch – women artists project “Without compromise”|
|1992||Grant for female artists from the Senator for Cultural Affairs, Berlin|
|1993||Grant from the Senator for Cultural Affairs, Berlin|
|1997||Grant Kunstfonds Bonn|
|1998||Grant Kunstfonds Berlin|
|2016||Cross Section I, Busche, Berlin
Ambilateral, Art in the Schinkel building, Altlangsow
|2015||Galerie Oqbo, Berlin, with Katharina Karrenberg (S)|
|1998||Five Painterly Positions, Busche Galerie, Berlin
Young art international, Overbeckgesellschaft, Lübeck (catalogue)
|1997||Correspondences, Berlinische Galerie, Martin-Gropius-Bau, Berlin; Scottish National Gallery of Modern Art, Edinburgh (catalogue)|
|1996||Panoptik, Alt-Stralau, Berlin|
|1995||Busche Galerie, Berlin (S)|
|1994||Galerie Vincenz Sala, Berlin (S)|
|1993||Kunst-Sprache, Kunstwerke, Berlin|
|1992||What Humans Need, Bergmannstr.110, Berlin (catalogue)|