In her painting practice, Franziska Reinbothe develops a process based on folding the canvas, exposing the frame without restraint. The very support of the painting—the stretcher, the canvas, the layering process— are taken into account as a whole and considered horizontally to propose an artwork that unfolds before us. The front, back, and edges of the piece are revealed without distinction or hierarchy. 

The artist establishes a play between revelation and concealment. The canvas either unveils itself or evades the viewer's gaze. Like a tailor seeking to shape a model from folds of fabric, Franziska seeks to undress the artwork, to strip it bare.

This interplay of folds becomes a game of transparency, heightened by the use of chiffon—materials derived from the fashion industry— other everyday elements, and other interventions on the familiar.

The artist's pictorial intervention is minimal; a few layers of paint are visible through the drips along the edges, overlapping with the folds and stretcher. The shadows and volumes thus created bring the painting into relief, offering chromatic and luminous variation, the richness of gradients, a veritable abstract landscape.

This approach extends painting into space, disrupts vanishing lines and perspective, and unsettles the viewer's gaze, challenging conventional modes of observing art.

Franziska highlights the physical process of creating the artwork. The emphasized yet elegant gestures become a delicate choreography involving the canvas and
stretcher. This choreography of deconstruction pushes the boundaries of painting, challenging how we think about and perceive it.