Frank Moll

My work usually starts with looking for some kind of time-related concept. After all, I am really interested in topics that pertain to helping us structure our lives, more specifically how we manage day-to-day moments and measure time.

Generally, I start by preparing the canvas with special acrylic layers and rabbit skin glue to achieve an elastic and durable dark foundation.The next step is to apply tape to the surface and cut every single string to the right length. Afterwards, I administer some transparent layers, thus creating clear edges.The final step is to paint in oil on the last two to four layers, which creates a subtle depth and also serves as a pleasant contrast. Most of the time, I use for frames a color called “Fleischfarbe” (flesh color), which I have used for approximately six years. The color can be found in circa 90 percent of my paintings and is my homage to artists who have influenced my work.

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Aribert Von Ostrowski

Photocopies of advertisements, newspaper pages and scientific illustrations have been a substantial part of Aribert von Ostrowski’s artistic material and medium since the late 1980s. They have often served as an iconographically associative background for his drawings or paintings, have covered sculptures, or were part of context-specific installations.

Born 1953 in Günsterode Lives and works in Berlin

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Marie Hazard

I am a weaver. At 24, I weave the invisible threads of an intimate story that does not know how to say otherwise.Trained in textile handicraft training in London – Central Saint Martins –

On my old wooden loom, I weave miles of coiled threads that are released and mingle according to a well- established and thoughtful framework. Weaving is the art of miscegenation. I juxtapose photos, paintings on paper, materials, colors, folds and folds. It is a dance with the craft, a ritual and slow dance with the arms and the whole body that repeats endlessly the ancestral gesture of the craftsman, which requires physical commitment and self-sacrifice. All this should not be interrupted, I would lose my own drawing as the thread of my story.

After a long preparatory work, I choose my natural paper and linen threads, dye them, put them on the job, collect my images from everyday life, my own photos or those cut from magazines, I assemble them, paint them again or redraw them, then I print them on weaving by the process of sublimation or digital printing. It is an adventure playground where living universes are created that move and question. The stakes are there: it’s about capturing something of the energy of the world, and using the threads like the spider that weaves its web, making a mechanical work a unique piece.

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Thomas Arnolds

Born in 1975 in Geilenkirchen, Germany. From 1997 to 1999 he trained as a stonemason and stone sculptor, and thereafter worked for two years as a church restorer for the Diocese of Aachen. From 2001 to 2005 he studied painting at the Hochschule für Bildende Künste in Braunschweig under Walter Dahn. Since 2007 his work has been shown in numerous individual and group exhibitions at home and abroad.Thomas Arnolds lives and works in Cologne.

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