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About Bettina Krieg

At first glance, the works of painter and illustrator Bettina Krieg resemble mechanically produced renderings, with their distinct precision and uniformity. Only upon closer inspection do the compositions unfold to reveal a multitude of… Read more

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BACKGROUND INFORMATION

At first glance, the works of painter and illustrator Bettina Krieg resemble mechanically produced renderings, with their distinct precision and uniformity. Only upon closer inspection do the compositions unfold to reveal a multitude of lines, each with small irregularities and idiosyncrasies. Each line, though unique, embodies Krieg’s signature style. This approach grants the viewer a variety of perspectives; For example, when taking a step back, the work evolves to allow new interpretations.

Bettina Krieg’s artistic approach resembles a form of meditation. At her studio, she prefers an early start to the day – gladly opening windows to draw inspiration from the outdoors. Little by little, she delves deeper into her work, drawing line after line in colored ink. Her usual color of choice is blue, but she also experiments with green, gold, silver, black, and red. Against a white backdrop, a dramatic landscape begins to emerge. The large-format works are created over a long period of time – days, sometimes weeks. As a result, various states of emotion can be detected. Lines from one day can resist, compete with, or rival the previous day’s lines; They can likewise complement each other to establish a lighthearted interplay.

For many years, Krieg has devoted herself to drawing – continuously changing and developing her approach in the process. While intuition has always been an essential part of her work process, her earlier pieces had a larger focus on understanding and reconstructing complex structures. Nowadays, she is driven by emotional appeal. She prefers drawing in the morning when the events of the have not yet affected her. The artist is often alone during these hours, allowing her the ability to trace internal emotional vibrations. Her works are exhibited and auctioned worldwide, with a large presence in Europe and North America.

VITA

1981	born in Würzburg, Germany
2004	Erasmus-Program, Visual Art Studies, École Supérieure des Beaux-Arts de Marseille, France
2007	Nica-Program, Visual Art Studies, Australian National University of Canberra, Australia
2009	Masters of Visual Art, University of the Arts, Berlin (Daniel Richter; Robert Lucander; Hans J. Diehl)

Exhibitions

Solo Exhibitions

2021	Transition, Galerie Martin Mertens, Berlin, Germany Les Voyageurs #1 Bettina Krieg & Maximilian Magnus, D1 Gallery, Hamburg, Germany
2020	Stream, Salon am Moritzplatz, Berlin, Germany
2019	Intimacy, Brunnenstraße 22, Berlin, Germany Drawings, The Aurora, Vienna, Austria
2018	Extended Heartbeats, Double Studio, Berlin, Germany
2017	Raumzeichen, JB Finearts, Hamburg, Germany
2016	How Long Is A Piece of String, Galerie M. Mertens, Berlin, Germany
2015	Systematic Motions, Galerie Parrotta Contemporary Art, Stuttgart, Germany
2014	Kontrakt der Zeichnerin, Deutsche Werkstätten, Dresden, Germany Struktur Form Variation / Bettina Krieg & Nico Kiese, Loft 8, Vienna, Austria
2013	Vortex, Drawing Center Diepenheim, Holland Konzeption, Galerie Andrae Kaufmann, Berlin, Germany
2012	Messestand Vienna Fair, WienMessestand Vienna Fair, Vienna, Austria

Group Exhibitions

2021	Lazy Eye, Spoiler, Berlin, Germany
2020	40 x 30, Galerie Lachemann Art, Konstanz, Germany Meditations on Paper 2, JB Finearts, Hamburg, Germany
2019	Meditations on Paper 1, JB Finearts, Hamburg, Germany Marking Time, Deutsche Werkstätten, Dresden, Germany Drawing Wow, BCMA, Berlin, Germany What goes around comes around, Studiolo, Berlin, Germany Edition 1.0 AXS Art & ART TOURS BERLIN, Berlin, Germany En Bloc, Codex, Berlin, Germany
2018	Gästeliste , Galerie Peters-Barenbrock, Ahrenshoop, Germany Paperwork, Codex, Berlin, Germany
2017	Silent Art Auction, Drawing Hub, Berlin, Germany Millerntor Gallery, Maastricht, Netherlands  Raumzeichen, JB Fine Arts, Hamburg, Germany Sommerblüten, Galerie Martin Mertens, Berlin, Germany Golden Ass, Laden für Nichts, Leipzig, Germany What`s Up, New York, United States Three Two One / A 3 Day Art Show, Los Angeles, United States
2016	Paper Works, Galerie Martin Mertens, Berlin, Germany WHAT’S UP 2.0, House of the Nobleman, London, Great Britain Dozentenausstellung, Motorenhalle, Dresden, Germany In correspondence with the drawing, Galerie Michael Fuchs, Berlin, Germany Papier!, 68 Projects, Berlin, Germany Through the Looking Glass, oqbo Raum für Bild Ton und Wort, Berlin, Germany 10 Years, Galerie M. Mertens, Berlin, Germany
2015	Happiness Is Boring, Galerie M. Mertens, Berlin, Germany F.E.G.L. LYKK zu Faserstein in Memoriam Peter Lang, Bar Babette, Berlin, Deutschland
2014	Welten Träumen, Sammlung Kunstwerk Alison und Peter W. Klein, Stuttgart, Deutschland Choices 2, Galerie Conrads, Düsseldorf, Deutschland three women, Galerie Patrick Ebensperger, Berlin, Germany Hatje Cantz & Du Moulin, Bikini Berlin, Germany Lieber Künstler zeichne mir, Semjon Contemporary, Berlin, Germany Drive the Change, 100 Plus, Zurich, Switzerland  Pitch 2, Baumgarten Brandt, Berlin, Germany
2013	Drawing a Universe, Kai10/Arthena Foundation, Düsseldorf, Germany Das Gleiche nochmal anders / Über die Unmöglichkeit der Wiederholung, Galerie Andrae Kaufmann, Berlin, Germany Die Entwicklungsgeschichte der Kunst 1830 – 2014, Galerie Kuckei Kuckei, Berlin, Germany Fièvre Verte, AgVa Contemporary Institut for Art and Thought, Berlin, Germany
2012	Convoi Berlin, Biksady Gallery, Budapest, Hungary

INTERVIEW

1. How did you first become interested in art?

My parents were both highly creative people who always supported my sister’s and my own artistic ambitions. Our home was filled with painting, crafts and creative endeavors. When I was 18, I moved to Paris to work as an au pair, where I spent my free time exploring the museums, sketching people in cafes and parks, and making portraits of people close to me. My drawings began to receive some praise and attention from my immediate circle. Eventually, the father of my host family convinced me to study art, which opened up a new world of possibilities to me.

2. Could you describe your artistic process from start to finish?

Before I begin work on a new piece, I set out some basic rules and guidelines to create a conceptual framework. First, I decide on the format, colors, materials, and paper for the new work. I try to use a few resources as possible - usually just paper and ink.

I also make a few rules to help guide me during the drawing process. However, I never adhere too strictly to them, as sometimes the work will unfold in new and unforeseen ways as I draw it. I don’t make any preliminary sketches or plan the layout beforehand. The shapes and forms are created intuitively during the drawing process. I aim to draw in a fluid yet focused manner, with several repetitions. Every line is a reaction to the one before it, and no two are exactly alike. This creates an organic, flowing image.

3. What is the most fulfilling aspect of your work?

Stimulating every one of my senses. I love working with my hands - the feel of the paper, the smell of the ink, the sound of pen on paper, the sight of a line flowing across the canvas. I’m fascinated by the way the image gradually takes shape before my eyes. Every drawing I make inspires both questions and answers.

4. What role do you think art serves?

Art should speak to us. It should raise questions, help us to better understand the world and ourselves, and act as an intuitive and unspoken communication channel between people. Art should unite, heal and above all, bring us joy.

5. Which artist would you most like to meet, and what would you ask them?

Agnes Martin. While I’d love to discuss her childhood and life story, I think I’d prefer to just sit next to her in a desert and draw together in silence.

6. What is something that recently inspired you or made you think?

I’ve recently been thinking a lot about our mindless consumption of the planet’s finite natural resources.