Artworks by Beatriz von Eidlitz are on display in the old town hall. Rather than relying on classical painting for her pictorial objects, she pursues her own unique path, which is based on a well-conceived combination of outstanding craftsmanship and expertise.

Beatriz von Eidlitz began making paper at an early age, rebuilt an old paper mill in Austria and has been experimenting with a wide variety of materials and fabrics ever since. Intensive exploration of the processes of paper technology culminated in the development of her distinctive method of artistic design. She creates her artworks both on paper and on iron plates. In the production process, both materials play their part in interplay with pigments and sculptural forms. The open, lively textures of the surfaces are decisive for the formal language and expressive quality. Design planning and the coincidences of the material’s own will, such as oxidation, enter into an exciting interplay, as does the polarity of figuration and abstraction. Beatriz von Eidlitz concentrates on geometric forms, clear lines and mostly bold colors. A closeness to the natural process of creation remains visible and opens up a tremendous diversity of textures and chromatic nuances. The artist’s avowed aim is to conjure a magical intensity in the harmony of color, form and the unmistakable character of the surfaces.

Opening of the Winningen Art Days: Friday, May 6, 2016 at 5 pm. Duration of the exhibition: Friday, May 6 from 5 pm to 11 pm; Saturday, May 7 from 11 am to 9 pm; Sunday, May 8 from 10 am to 6 pm. Exhibition venue: Town Hall, August-Horch-Str. 3, D-56333 Winningen, Germany.

What does it say? First of all: Here I am, no question about it! But one thing at a time. The first is the enchantment in the eye of the beholder. Along with, it the power of allurement unfolds. It captivates the gaze and gives it much work to do. It sets the imagination into motion. Is there an order that can be deciphered? Aren’t there refractions her that nullify all regularity? And isn’t the regularity, where it dominates, again surprisingly set into motion by the fine structure? Thus aesthetics, which literally comes from perception, motivates the desire for association. And the associations are the great free play with which these pictorial objects captivate those who allow their gaze to wander among them.

Moods are awakened, strings are plucked, pictorial motifs are thought through, fantasies are aroused. Sometimes they may wander into cosmic realms, sometimes into the concrete world of tangible forms, sometimes the rhythm of clashing forms, colors and textures becomes perceptible. Messages are not to be feared. No fetters are placed on the freedom of contemplation, just as the pleasure of contemplation when looking into a landscape arises from the tension between what has become and what has been made.

Dynamic or filigree visual ideas combine with plays of color, which are sketched and elaborated entirely by the unfettered imagination. And the focus is always on the contrast between the form and the lively, open character of the surfaces. The artist’s will and the material’s will are constantly in dialogue. The contrasts between figurative representation, abstraction and the concrete appear to be suspended and resolved in a synthesis. Or to put it briefly: magical intensity is a characteristic of Beatriz von Eidlitz’s art.

Eberhard Falcke (2015)

Joint exhibition with Wolfgang Dietz at the Federal Patent Court in Munich, from December 4, 2014 to February 6, 2015, Mon to Fri, 8 am to 7 pm. Exhibition curated by Reinhard Fritz.

Beatriz von Eidlitz has entitled some of her works “From the Lexicon of Worlds.” Actually, this title fits all her artworks, in which there appear profound lava flows, lunar craters, planetary strands, sand and traces of water that seem to circumscribe the entire cosmos.

In Beatriz von Eidlitz’s alchemical laboratory, transformation processes take place in which water and rags, metals and oxides, pigments and binders are transformed into unmistakable objects. From the ancient craft of papermaking, the artist developed and continues to develop her own unique techniques.

Even in her strictly geometric forms, we are dealing with elemental forces in rich, warm colors on and in uniquely fissured, torn, haptically appealing surfaces that tell tales of primordial epochs. The rust has eaten into the paper or metal; its patina now seems timeless and infinite.

Eva Mueller, Art Consultant (2012)

Beatriz von Eidlitz’s skills as a sculptor and draftsperson complement each other with exceptional clarity in the artistic statements of her pictorial objects. The feel of paper, iron, pigments and rust naturally plays a large role in the plasticity of her pictorial objects. However, it is the delicate but distinct lines of her sketch work that bring the massive impression of the material into a finely balanced equilibrium. The drawing’s concentration on the immaculate geometry of square, circle and their variations (such as ovals, ellipses and casually thrown curls) gives these pictures a lightness that oscillates between the transparent clarity of simple forms and thoughtful absorption in the act of drawing itself.

From this concentrated self-forgetfulness, which I also experience in the drawings of Cy Twombly, Beatriz von Eidlitz draws her circles and discovers the world – for herself and for us. The circles become drawn spheres, the squares become cubes falling from the sky, like grammatic declinations of the idea of space, yet they show us only the idea of body. Through this playing with reality and imagination, with the real plasticity of the material and the sketched idea of spatiality, Beatriz von Eidlitz enables us to participate in her artistic conception of reality and abstraction.

Thomas Witzke, installation artist, painter and photographer (2012)

Paintings and objects. Beatriz von Eidlitz: Galerie Mollwo, Gartengasse 10, car park and tram stop “Fondation Beyeler,” 4125 Riehen/Basel, Switzerland, from November 27, 2011 to January 8, 2012, Wed to Sun, 2 to 6 pm. Review in the Riehener Zeitung of Friday, November 25, 2011. Riehener Zeitung, No. 47, November 25, 2011. Landscapes of metal and paper: www.mollwo.ch (pdf).