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.

During his residency at the CCA, David Berweger spent each morning walking nearby trails to find abandoned objects. Once patiently collected and sorted, he
meticulously cleaned these objects, scrubbing away all traces of their external marks and past lives.

For the artist, this sequence of actions is an integral part of the artistic process, a
way to affirm awareness of the gesture, akin to an ecology of making. These actions also contribute to the transformation of the objects, functioning as a ritual.

Each object, completely removed from its context, is associated and assembled according to its sculptural qualities—textures, colors, weight, tension, and elasticity. The goal is not recycling but granting these abstracted objects a new essence, opening them to fresh poetic possibilities.

David Berweger’s work reflects on the nature of objects—domestic, industrial, natural—emphasizing our perception of them and our relationship to the everyday environment. He questions how we view objects by altering their value, whether they are noble, composite, or mere residues. These objects neutralize one another and awaken their capacity for magnification.

Each new composition plays with the limits of balance, exposing its fragility and
ephemerality, while contrasting with its commanding presence in space. These objects, having regained dignity, confront the viewer and are imbued with new power. Yet, the nature of these new objects remains elusive; any possible evocation falters in the face of their fragmentation.

Through a practice rooted in familiar gestures, Franziska Reinbothe and David Berweger succeed in creating both surprise and strangeness, reinventing their artistic practice.