Head to Head

Ines Berger’s large-format paintings are overlaid with transparent, painterly depictions that interpenetrate, producing a complicated composition which, although mostly dominated by an – ideal – image of a woman, also contains numerous independent details.

The transparent overpaintings, familiar from the work of Francis Picabia, are biographical notations – a way of making the past and the remembered visible.

Within the painting, additional ideas arise in this way, not only in terms of content but also aesthetic ones. Personal and painterly developments are thus made comprehensible in a concrete and narrative way.

With this radical and intimate cycle of paintings, Ines Berger ultimately raises questions between introspection and outward perception.

The face-to-face situation that arises between the paintings and the viewer is both a challenge and an invitation to visitors to the exhibition to ask themselves how things stand with their own inner landscape, and thus with our psychological disposition.