This duo exhibition brings together Peter Krauskopf and Katharina Stadler, two German artists from different generations whose practices converge around abstraction as a material and temporal process. Rather than proposing a thematic synthesis, the exhibition stages a dialogue between distinct modes of working through the surface—one grounded in painterly accumulation and erosion, the other in structural intervention and reassembly.
Krauskopf’s paintings articulate abstraction as a durational field. Built through successive layers of oil paint, dragged, compressed, and partially erased, his surfaces register time as a material condition. The canvas functions as a site of sedimentation, where colour is tested through pressure, viscosity, and repetition. His use of tools that displace the hand situates the work within a post-war European discourse on abstraction, resonating with the analytical strategies of painters such as Gerhard Richter and Bernard Frize, while maintaining a distinctly intuitive and process-driven logic.
Stadler approaches abstraction from an inverse yet complementary position. Her works are constructed through acts of cutting, stitching, and reassembling painted canvas and textile elements. Seams, overlaps, and joins remain visible, emphasizing painting as an object rather than an image. Destruction becomes a prerequisite for reconstruction. Colour is held within structure, distributed across breaks and intervals rather than applied across a continuous field. Her practice aligns with a lineage in which textile and painting intersect as systems of knowledge and material reasoning, recalling figures such as Teresa Lanceta and, more contemporarily, artists who expand painterly logic through weaving and fabrication.
The intersection between the two practices lies in their shared commitment to colour as an analytical instrument rather than an expressive device. In this respect, the exhibition resonates with a broader historical arc—from Bauhaus pedagogies of perception, notably Anni Albers, to post-minimal and contemporary practices that treat repetition, restraint, and variation as modes of thinking. A quieter point of reference can also be found in the meditative chromatic discipline of Agnes Martin, where slowness and attentiveness structure both making and viewing.
Within the spatial context of Buysse Gallery, the exhibition favors silence, negative space, and measured intervals. Works are not arranged to assert equivalence or contrast, but to establish a perceptual rhythm. Krauskopf’s paintings anchor the space through chromatic density and depth, while Stadler’s constructed surfaces introduce moments of interruption and structural awareness. The viewer is invited to move slowly between these registers, attentive to how colour unfolds across different material logics.
Rather than offering a resolved narrative, the exhibition foregrounds dialogue, friction, and echo. It positions abstraction not as a closed historical category, but as an ongoing negotiation between material, process, and time—one that continues to unfold through distinct yet resonant practices.
Curated by Evin Esen
