Artblogger Francesca Sgrazzutti about skarte

Dreamy atmospheres cradling the viewer, who is getting lost in these timeless compositions marked by subtitles stretches and defined by enigmatic titles. Exploring color potential is equal to dive in the intimate essence of human soul. Colors and their dual nature of light and material play here the absolute leading role. They structure compositions, define space articulation and punctuate surfaces. In the same way, colors spark off feelings and suggest infinite and depth less mind landscapes.

The artist is not intended to deal with the whole chromatic spectrum. From time to time she chooses a specific color and through its shades, nuances and variations defines the visual playground. Her artworks belong to series (A tavola I-II-III) because – just like fragments of a bigger story – they are not conceived as unique pieces. Each serie is based on subtle variations of a single color-tone: like ultramarine (En bas), spring green (Am See), magenta (Die Wartende) and more recently even deep black. These colors have a corporeality, a body and they are naturally and steadily dialoguing with the light.

Material experimentation is the other fundamental pillar of the artist’s research. Therefore, testing and mixing different media is enriching and intensifying this exchange, creating unexpected and engaging combinations and extending the shades‘ palette. Primal materials such as rust (Android), sand (vor den Mauern), wax (Schlaf, mein Prinz) combined alternatively or together with the thick fluidity of acrylic enhance the tactile quality of the work and affect substantially pigment’s identity, generating new tones and arousing deep feelings.

From light, to color, to material.

One step further and we are approachng the mixed techniques territory, where collage, frottage and engraving are brought together with painting. In these compositions (ot) – where printed paper and rust stick on linen canvas – we can size a subtile reminiscent of Alberto Burri and Jean Feautier, even if without the dramatic implications of the post-war generation. The Informal heritage together with CY Twombly’s bequest, with his scribbles and his devotion to emotionally intense colors, has been representing a solid basis for the development of the artist’s original identity, pushing her investigation over the two-dimensional canvas boundaries.

Boxes and Cubes are the natural result.

They summarize vocation for graphic work, love for craft, passion for print. Besides the oneiric series of canvas, they express the whimsical side of life. Boxes are neither paintings nor objects, they could gloriousy hang on a wall or simply lay on a table, they could be taken and moved ed eventually used. Like random movie’s frames they look catchy, allusive, absurd and playful (Just Visiting serie). Figurative and abstract, recognizable and ambiguos, formes and elements are composed together on wooden structures (Die vermessung der Welt serie). Big gesture is no longer needed working in a reduced scale yet there are no limits in exploring and blending media and visual languages.

Coming from the strong 20th century abstract tradition but aware and present (correlation with Christian Hetzel’s work can be detected) the artist is holding a forward-looking basic approach. Stefanie Krause is constantly in quest of inspiration, fascinated by the power of the brush stroke, attracted by the formal synthesis and captured by the depth of details as well, yearning to explore new techniques and new emotional fields.

Author: Francesca Sgrazzutti, journalist, designer & artblogger (