The paintings, sculptures and video installations by Kerstin Grimm, Tanja Selzer, Sabine Wenzel and Sevrina Giard show creatures as beings from different spheres: gods and demons, animals and beasts – staged aggressively, erratically, unlikely and pitifully they are defining the motif.
The exhibition’s arc of suspense yields almost by itself: The photographically appealing paintings of Tanja Selzer set an antipole to the picturesque photographies of Sabine Wenzel. Kerstin Grimm’s surrealsculptures as the video of Sevrina Giard complement the sight.
Tanja Selzer draws her motifs from the daily media-related flood of images as components of human seceneries, figures in wild natural spectacles or single persons and animals infront of or inside a natural background. She changes these images by composition, shift of colour and an ease of paint application into intense expressions of a transparent reality.
The alternating depiction of humans and animals as their interactions are an expression of their mirror-symmetric anima. Selzer stages this without psychologic abstractions but with the genuine intensity of a direct line to the source of fables and tempers.
Berlin-based photographer Sabine Wenzel, popular for her experimental imagery, shows birds as alienated creatures. The series „Sieben Geschichten über den Wind“ (Seven Tales About The Wind) features images of seagulls. These are snapshots of white featherings against bright backgrounds; red beaks and spread wings expose in an undefíned space.
The series „Nachtvögel“ (Nightbirds) from 2012 poses the counterpart to this. Coarse-grained photographed in darkness, the outlines of crows stand out against the residual light of a nighttime sky. With illuminated striking eyes they perch in crowns of trees as black, intelligent companions of the night.
The bronze sculptures of Kerstin Grimm are part of the series „Stunde der Dämonen“ (Hour of The Demons). These „demons“ are modelled in wax and combined with disparate readymades of different origins (e.g. parts of dolls, fragments of plants, etc.). As such composite creatures these sculptures develop their conclusive appearance: comfortably familiar and shockingly strange.
The exhibition „KREATUREN“ also shows works of the series „Die große Flußfahrt“ (The Great River Trip), a group of small bronze sculptures, standing on long thin iron poles at eye level. Animals, humans and hybrids inhabit the „boats“, of which each is a self-sufficient world of its own.
Sevrina Giard is discovering a strange and poetic macrocosm with her film cycle „Ajo Laru“. The viewer is taken on a journey through a kaleidoscope of bizarre, fascinating, partly irritating and disturbing inner worlds, which he however often cannot classify, despite the real or seemingly objective expression of this motion pictures. In this ambiguous macrocosm tales are being told, strange events are documented or simply the beauty of choker close-ups of fragile creatures are revealed.