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UTE HÜBNER
The representation always uses the means of painting, allowing the painting process itself to become visible on closer inspection. In direct linguistic and visual dialogue with the viewer, Rave’s purist text images essentially focus on the complex process of seeing and perceiving.
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ESTHER SLEVOGT
In Bettina Rave’s work the medium can never be separated from its contents. The material is always part of what is represented and is expressed with the help of this material.
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WULF HERZOGENRATH
Bettina Rave has found a quiet, almost meditative form for representing a fundamental problem in the fine arts: Is a work still “like nature” (Paul Klee), which is to say an invention that parallels nature, or instead, should it be considered in terms of its technical reproducibility?
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ANDREAS MEIER
In these works, we experience painting as a plastic expression of emotional closeness.
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PETER HERBSTREUTH
The object before our eyes becomes an individual image for each viewer. The viewer cannot say more about the reality of a specific image than that it permits his or her relationship to this reality. Such a pictorial constitution may come from the insight that the image of reality has little in common with reality, and that the image of a landscape says little about the dominate reality of an area shown.
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BERNHARD KERBER
Lightning is light par excellence. It is a prerequisite for sight in nocturnal darkness. Sight, in turn, is the real subject of the painting. In a literal sense, Bettina Rave’s painting immortalizes the “Augen”-“Blick” [wordplay in German for “eye(’)s”-“view” and the word “Augenblick” (of the moment)]. Finally, Bettina Rave’s painting contains a romantic moment. Amidst the finite, she wants to let our spirits become one with the infinite.
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Texts
UTE HÜBNER
The representation always uses the means of painting, allowing the painting process itself to become visible on closer inspection. In direct linguistic and visual dialogue with the viewer, Rave’s purist text images essentially focus on the complex process of seeing and perceiving.
> more
ESTHER SLEVOGT
In Bettina Rave’s work the medium can never be separated from its contents. The material is always part of what is represented and is expressed with the help of this material.
> more
WULF HERZOGENRATH
Bettina Rave has found a quiet, almost meditative form for representing a fundamental problem in the fine arts: Is a work still “like nature” (Paul Klee), which is to say an invention that parallels nature, or instead, should it be considered in terms of its technical reproducibility?
> more
ANDREAS MEIER
In these works, we experience painting as a plastic expression of emotional closeness.
> more
PETER HERBSTREUTH
The object before our eyes becomes an individual image for each viewer. The viewer cannot say more about the reality of a specific image than that it permits his or her relationship to this reality. Such a pictorial constitution may come from the insight that the image of reality has little in common with reality, and that the image of a landscape says little about the dominate reality of an area shown.
> more
BERNHARD KERBER
Lightning is light par excellence. It is a prerequisite for sight in nocturnal darkness. Sight, in turn, is the real subject of the painting. In a literal sense, Bettina Rave’s painting immortalizes the “Augen”-“Blick” [wordplay in German for “eye(’)s”-“view” and the word “Augenblick” (of the moment)]. Finally, Bettina Rave’s painting contains a romantic moment. Amidst the finite, she wants to let our spirits become one with the infinite.
> more