(Master)pieces

Kurt Hüpfner’s 70-year-long oeuvre consists of sculptures, assemblages, collages, paintings, wall hangings, caricatures, graphic reproductions, compilations, text images, graphic novels, and hundreds of drawings. Central themes in his art include political events, personal memories and encounters, as well as individual studies of authors, artists, and textual sources. What has emerged is a unique world filled with mythical creatures and figures, created from a wide variety of materials, colors, and forms.

Marianne Lang’s central medium of expression is drawing, yet she conceives of the medium on a larger scale by experimenting with different techniques, materials, and perspectives. The common thread in Lang’s art is the tension between humans and nature. The way we think about nature, space, and architecture is shaped by how we think about boundaries. How far do we go in intervening in nature? And when does the point come at which nature reclaims its ground?

From canvas to paper and textile works to objects, the artist refers to her practice as “works based on the trial-and-error principle.” Many materials are recycled by Petra Lupe and find their way into her work directly from her surroundings. Working in series is particularly important to Lupe, as only through repeated engagement with a theme or material does she delve deeper, uncovering layer after layer until the right visual language is found.

Within Peter Baldinger’s extensive oeuvre, one recurring theme stands out: dissolution. He approaches it repeatedly from different perspectives, seeks to rediscover it through varying techniques, and engages with it in a playful manner. In his art, Baldinger works very systematically with everyday motifs and well-known subjects from art history, asking himself: How much information is necessary to recognize an image motif? Or conversely: How far can image resolution be reduced without the motif being lost?

Since 2019, Christine Mayr has been devoted to a new subject: face blindness. She works to translate this particular form of perception onto paper and to give viewers an impression of how people with face blindness experience their surroundings. Mayr draws with colored pencils on paper; her sculptures are constructed from ceramic and are partially colored and glazed. She works mostly intuitively, not composing her artworks in advance, but allowing them simply to grow and come into being.