Gudrun Klebeck’s work ties together different compositions via montage. Her work combines apparently monochromatic pictures or surfaces – which she creates using glazing in various tones – with fabrics that she prints using silkscreen or digital images. The pairing of these diverse techniques and materials creates a contrast, with the colored surfaces – whether restful or vibrant – diametrically opposed to the printed elements. The primary and monochromatic, yet multilayered use of color evokes images that cannot be rationally understood, and which confront the viewer with a fresh and new visual experience.
In contrast, by integrating printed graphic elements into the painted surfaces, an abstract image is created that depends on the size and character of the cutout. As a result, for the viewer, these graphisms tread a fine line between recognition and association with objects or natural forms.
Accordingly, each of those connected structures relates a different concept of space. The painted areas suggest depth of field, whereas the graphic elements appear to lie on the surface. Nonetheless, through their abstraction, both of the elements in this discourse avoid having a concrete meaning attached to them. To a certain extent, they are transformed by the indeterminacy of their structure, and they open up numerous areas of association for the viewer, making the relationship between image and viewer inseparable.
Through the balanced tension in her images, Gudrun Klebeck shows us that harmony is not something that can be taken for granted. Rather, it is much more the result of comprehensive individual and artistic experience and reflection.