We are very glad to announce to have the third one-person show by Beate Müller.

Born in Bergisch Gladbach, Germany in 1965, Beate Müller now resides in Aachen. She studied graphic, first at FH Aachen from 1984 until 1989, and next at the Art Academy in Düsseldorf from 1989 until 1994 to be Meisterschülerin by Prof. Franz Eggenschwiler. While she has been developing her career as a professional graphic designer based on Cologne and Aachen, she kept creating collage works and taking photographs. Last year she published her first monograph “Beate Müller, Lichtbilder” from Kehrer Verlag in Heidelberg, which was a good opportunity for her photograph to be noticed by wider public including curators and critics.

Karl Bohrmann (1928-1998), a painter who was her close friend left a text about collage works by Beate Müller.

Beate Müller once wrote: “My collages are made of found materials - a failed photograph can just as well be material as can a torn poster shard or textured papers. The process - pushing, tearing, drawing over, painting over allows me to react impulsively and intuitively to new situations. What happens by chance can accrue as much importance as planed doing”.
Very objectively she writes about the changeability of images and the influence of happenstance. Elsewhere she describes her need to expand her image search to include different options: She speaks about the loss of the surrounding space by taking photographs and mentions the possibility of collage technique as a medium concerned with that subject and with the want to modify and materialize the smooth surfaces of prints. The pulse is shown in her collages: to intervene and continue where the photograph stops, to favor of slow sweeping glances.
A healed or broken world seen through a train or car window. Abstract structures that suddenly turn into photos of magazines showing distant mountain ranges and beaches, outdoor spaces that are reflected indoors. These collages repeat the emergence of landscape (tectonic shifts, faults, overlaps, layers removed and exposed, cracks) in the process of doing. The homogeneity and interchangeability of micro and macro world becomes visible - an irritating sliding transition from simple material into photographic images and vice versa.
Undoubtedly this is a very “romantic” view of the world, the world landscape as a chaotic landscape, fragments as core and concentrate, and in contrast to this the amphora, the calm clear geometry of housings and rooms. All this in a small size, not in large and widescreen pathos, more intended for the gaze of a benevolent viewer than for a big public.
Cardboards become cineramas, simulate and open a sort of built- and broken stage. With the medium of collage as an analogy to the emergence of landscape she shows the fragmentary nature of visual perception and its changeability and interchangeability. She exemplifies this without the need of a computer, with simple and casual materials. All the same these collages want to picture. Is it possible that the sensations these images trigger are more manifest than the picture itself? Impressions of vastness, of moving, passing and passaging by, of falling, but also of silence and transparency.
Illusionism. Is Illusionism as the opposite of art? This question must, from time to time be asked. She works at the edges of visibility and is interested in the transitions and the transshipment of material and fiction, fiction and material. Her work is an attempt at reproduction - images made with the desire to “get images”.
Cologne 1995

This is the first time for Beater Müller showing only her collage works. Please come to take a look.