DUSSELDORF.- In the exhibition Minimal Motion by Nora Schattauer and Taiyoh Mori, two artistic positions encounter each other that differ in their materiality and methodology, but are deeply connected in their sensitive approach to processes of visibility and transformation.

Taiyoh Mori’s works are characterized by extreme reduction. His drawings and objects demand concentrated observation in order to experience the subtle interplay of medium and light. Sometimes there are only delicate lines on paper, other times subtle engravings in glass that cast thin shadows on the background. Light and drawing merge into a flowing unity. By deliberately avoiding expressive gestures or striking forms, he creates a fragile field of tension between the visible and the invisible, between materiality and the ephemeral. His works invite us to slow down our perception and engage with minimal shifts in space. This creates an intense closeness between the viewer and the work that does not impose itself, but unfolds in the act of observation.

Nora Schattauer differentiates the movement possibilities of colors and forms within the paper. This results in color gradients and structures that change due to the specific reactions of the materials at the beginning of their creation. The process remains visible and lends the works an organic, almost lifelike quality. Her works operate at the interface between drawing and painting, between random structure and deliberate placement. Patterns and forms are not created through classical creative decisions, but as energetic protocols of experimental processes. Her works transcend boundaries – between line and surface, between figuration and abstraction – and continue a visual language that eludes determinism and is in a constant state of flux.

What Taiyoh Mori and Nora Schattauer have in common is their intensive exploration of materiality and temporality. In their own way, both explore the subtle forces that shape works and allow them to be reinterpreted in a constant dialog with space, light and the viewer. The exhibition makes this dialog visible – as an encounter of reduction and expansion, of control and openness, of trace and process.

SOPHIE HEINRICH – Showroom

In Sophie Heinrich’s paintings, the strict concentration on the linear and the setting of large, often triangularly painted surfaces are of formative importance. Large, unpainted areas and the structure of the canvas are often included as compositional elements and the painting’s color. Each of the precise settings, every stroke, line and surface are carefully emphasized. Some lines are firm and dominant, others delicate and barely perceptible. She is not only interested in the carefully considered composition within a painting, but also in how individual elements relate to other pictures. Thus there are always tableaux that are assembled from several, sometimes large-format canvases to form a single picture.