In HEIKE GALLMEIER'S work, the levels of construction, reconstruction and deconstruction combine with each other in a manner that is just as fluid as the media of sculpture, painting and photography. The artist often uses rooms as image carriers to construct a pictorial perspective with the help of found objects, painting and everyday materials. The ambivalence between real flatness and illusionary spatiality forms the starting point for a chain of transmedial translation processes that ultimately lead back to the image. In her staged photograph 'Überfahrt' (Crossing), Heike Gallmeier refers to Arnold Böcklin's 'Toteninsel' (Isle of the Dead). The analogue photograph, which originated in a spatial installation, is shown through and on the glass of the gallery's shop window. The photograph not only shows its fundamental constructedness, but also balances on the precarious line between consistency and contingency, between coherence and disintegration.
Dissolution and fragmentation are also evident in the photo series 'Dark Ride'. The pictures of figures from a ghost train are eerie precisely because of their incipient decay. The staging of fear is simultaneously broken and reinforced by the recognisability of the improvised means.
In her latest work, Heike Gallmeier processes photographs of her former parents' house, which was completely gutted due to construction work. The photos show different perspectives and lead the viewer through a panorama of loss.

ANNETTE GÖDDE works with photography, video and installation. Collected materials, objects and settings are photographed in the studio, collaged on the computer and transferred into real space. The result of the work is thus always a result of digital processing.
In contrast to this, her new works are real pictorial objects, composed of diverse materials. Old papers, cardboards, offset newsprint, glossy paper, photos, things found on the internet, engravings from the 19th century, finds from the archive of old works. The artist cut up, tore and glued all of this, in parts tore off, re-glued, painted, made incisions and over-drew.
In this way, individual pieces have been created in which the digital becomes unimportant and, above all, the way of working changes. Haptics, spontaneity and coincidences come to the fore, the desire to destroy in order to discover something new becomes productive. The irreversibility of the actions (there is no CTRL-Z) creates alertness and tension, and stands against arbitrary interchangeability.
Thematically, it is about associative variations on pain, body and chaos. Memories and premonitions of these are staged in multi-perspective, absurd image spaces. An overabundance of forms and colours creates a need for calm and emptiness, but this is not granted. The images demand that the viewer engage in a process of exploratory seeing in order to repeatedly find new connections, structures and fractures in terms of form or content.