Born in Freiberg/Germany
Lives in Leipzig as an artist and architect

Traces dune recherche continue Peinture dInes-Hildur

Dans le meilleur des cas les beaux-arts parviennent ce qui autrement est impossible: par moment le temps simmobilise. Lhomme contemplateur et jouisseur sarrte pour un instant, commence ce dlier de son entourage et entre dans un cosmos de couleurs et nuances, signes et gestes, espaces et paysages. Pablo Picasso dcrit leffet de lart sur ltre humain: Lart sert se laver lme de la poussire de tous les jours.

Les uvres exposes de la peintre tabli Leipzig contiennent le potentiel dun riche voyage en images et facettes. Au spectateur souvre alors un kalidoscope de nuances dlicates. Les surfaces chaudes et couvertes invitent lil demeurer. Mme la plus petite chelle naissent des mondes lointains, dun apparent non-lieu qui montrent et cachent leur histoire unique en couleurs et bauchent leurs ombres semblables. Le retour priodique du passage, effleurant les souvenirs est saisi dans plus dune uvre et donne limpulsion pour un dj vu.

Limage en soi prend origine et devient par la suite une collection caractristique, un extrait dtats passs et passagers, qui transmettent par un assortiment concentr au spectateur la chose suivante: Tout a et prend son temps.

Tilo Richter/Art Historian, Ble/Suisse (traduction franaise: Philippe Ernst, Ble/Suisse)

Sound of colours thrill of colours Painting of Ines Hildur
With a strong but also subtle colourful mixture something new is designed stands out against the white and grey of the winter. The always reoccurring yellow-green, sometimes also occurring as bright yellow, conveys tranquillity and steadiness. In addition to this pink, magenta and deep purple represent more dynamic components. An exciting dialogue is developing a state of being together, being on top of the other, being below the other.

Artistic authenticity and a distinctive handwriting are not achieved by a unique expressive impetus but an almost ritual process of revision, repeated spontaneity. The process is not retouched but remains visible and can be haptically experienced.
The works on various painting backgrounds are poetic snapshots: vivacious and highly sensitive, loud and quiet landscapes of imagination.

Repeatedly new layers appear to conceal a secret. Traces that disappear and reoccur are similar to symbols of transience. At each glance there are new associations and impres-sions. However, when translating it into the terms of language always something mysterious remains, which cannot be translated. Not only the spaces of colours the sounds of colours are in interaction like a musical composition the painting works among each others correspond like an orchestra, as well, where the instruments mix into an interplay of sounds or become a solo voice.

Andrea Richter-Mahlo/Art Historian, Leipzig