"I would describe it as a network of concepts and collections of material that build on each other, but implode again and again." – Daniel Hölzl, An Artist Interview #32

"My work is often associated with femininity, but I honestly don't think about it that much when I'm working. But of course I also think it's important to show women and to show femininity, because that's what I am. But I also think it's funny because, no offence to you, a man probably wouldn't be asked." – Lunita-July Dorn, An Artist Interview #31

"What I like about my big paintings are the brutality and the heavy majestically feeling the size creates. They become very powerful." – Laust Højgaard, An Artist Interview #30

"Chewing Tongue came to be while I considered this momentary visit to my mind’s figurative basement to be some waiting-room-like-purgatory." – Billie Clarken, An Artist Interview #29

"Houseplants were something I always found poignant and funny as little bits of nature that we bring into our inside spaces. Vases are objects that can be both functional and ornamental, they can contain something but also can have imagery projected onto them." – Ellen Akimoto, An Artist Interview #28

"I try to open up a space in which hesitation and doubt or longing are not negative attributes, but are normalised. A space where a character's reality is not entirely and solely within the confines of the skin, but everywhere and nowhere." – Emil Urbanek, An Artist Interview #27

"Approaching a new work is quite a spontaneous action, I normally try and find an image to work from or use a photo from myself and/or my partner/friends and then I develop the painting from there." – Brett Charles Seiler, An Artist Interview #26

"A conglomerate of thematic investigations and personal interpretations. I develop visual narratives and consciously mix past and present, explore stereotypes and cultural myths, often with a reference back to the private sphere." – Stefanie Moshammer, An Artist Interview #25

"I make use of the pictorial worlds that surround me and try to put them into new contexts in order to tell exemplary stories. In my paintings I collage a lot – in my sculptures I like to let the material speak for itself." – Jonas Fahrenberger, An Artist Interview #24

"In painting, I am particularly interested in the figure of the human being and I am concerned with pictorial objects that always give conclusions about human activity. My work is fragmentary and at best suggests a temporal sequence, a movement." – Johannes Daniel, An Artist Interview #23

"The attempt to navigate through the jungle—at times concentrating and straining to find pearls and at times beating one's way through the woods with a machete. Ultimately, to be on the lookout for discoveries—the observations are condensed into a recurring phenomenon at every vantage point: why does what float to the surface and when does it do it?" – Maja Behrmann, An Artist Interview #22

"Research finds its way into both the small details of the work and as part of larger narratives. So perhaps it is mainly about incorporating and translating different perspectives, ones that are formed outside of what is usually considered ‘art’?" – Bethan Hughes, An Artist Interview #21

"Only yesterday, by chance, I picked up a quote from Odo Marquard. The future needs origins. As far-fetched as that may sound, such a thought or a quote can influence my work just as much as a record that I listen to up and down or, of course, simply observing everyday things." – Fabian Treiber, An Artist Interview #20

"For some time, I thought it was my anger and my mourning. But emotion doesn't last so long. It can be a tiny drive but it often transforms into curiosity during a project. The urge to know something is the strongest drive of my work. When you start to research something, you find a dense entanglement and open up the whole universe of it, realizing the knowledge you had before was only a tiny bit of it." – Mooni Perry, An Artist Interview #19

"I don’t consider my work as style based. An artist’s style is defined by observers and not by the artist himself. There are schools that interest me more than others, Germany in the 80s, movie director’s cut in the 2000s and the Metabolism in architecture. These are only a few examples." – Antwan Horfee, An Artist Interview #18

"A central theme in my work is the perception of our world in pictures and its tradition." – Fabian Warnsing, An Artist Interview #17

"I paint images that explore the transformation process of colour into a representation of spatiality. I am fascinated by the fact that colour either shows itself or becomes invisible, so to speak, and reveals an image. I play with layers, hints, surfaces and light moods." – Marlen Letetzki, An Artist Interview #16

"Color-wise, my current work is much louder and since last year, figurative references meander clumsily through my paintings. Sometimes difficult to endure, and then again part of the process, my development and the time in which they arise." – Jenny Brosinski, An Artist Interview #15

"Actually I’m also occupied with photography that could be of course considered as my other artistic activity. From this, I used to visit everytime into the most remarkable and common architectures, then dedicated myself to capture this subject as a best sight of views, mostly proceeding with analog materials such as 35mm negatives/positives as well as middle format films." – Haleen Lee, An Artist Interview #14

"The combination of colours, forms and lines create the expressive composition and turn the white flat surface into a deep space filled with the diverse emotions." – Olya Bazilevich, An Artist Interview #12

"My image making process usually begins in lens-based apparatuses that I focus on places and spacial formations that captivate me. I often ask myself: How can I make the familiar and obvious strange, and vice versa, the strange curiously familiar?" – Andrea Grützner, An Artist Interview #11

"Since I work intuitively in the broadest sense, I don't have any sketches, plans or concrete ideas in my head before I start a new painting. I let myself be guided by the colour and my hand and see where it goes; I also surprise myself again and again in the process. [...] And then my fingers start itching again to tackle the next one." – Aneta Kajzer, An Artist Interview #10

"If I had to describe my studio right now, I have a book of Kippenberger open to the page of "The Raft of the Medusa", Mantegna's "Lamentation of Christ", the "Couple in Bed" of Philip Guston on my back, Paul Thek's "The Tomb" on the floor and some exhibition cards of stone "lying" or medieval bedroom scenes." – Anastasia Bay, An Artist Interview #9

"I’m specifically interested in the construct of reality and the way reality merges into something new. Is something authentic, a reconstruction, a copy or a mixture of all these things. In my work I try to play with these concepts. Some of the works look ready-made but are in fact perfectly balanced constructed sculptures. Here I play with the tension between coincidences and control – sometimes with the real traces people leave behind, and sometimes with traces made by myself." – Bram Braam, An Artist Interview #8

"My pictures are about the conditions of the objects, in which situations they are, if concerning photography. In hybrid works there is a cooperation of personal photography and algorithms that recreate the real world in digital 3d space with errors, which brings non-existent shapes of the objects. The pictures are facts of compression of distance and time." – Victoria Pidust, An Artist Interview #7

"I am concerned with what happens between people and how they deal with their bodies, how they move them and what they express through them. I'm particularly interested in signs of intimacy and fragility in situations where actually everything speaks against it and the question of how I can approach the poetic, subversive or even comic potential of this in painting. The theme of simulation plays a big role in this right now." – Manuel Stehli, An Artist Interview #6

In An Artist Interview #5, Anna Nero talks about how spots, bulges of colour and gestures mutate into objects – or even subjects – flirt with each other or how they repel each other.

"The focus is on the examination of light as a medium, which I approach in different ways." - Marta Djourina in "An Artist Interview #4"

"I think influences are beside of good or bad. They are just there. I want to divide my influences into two areas." - Lexia Hachtmann in "An artist interview #3"

Frank Jimin Hopp and KUNZTEN came together at his studio space in Wedding Berlin, for an artist interview #2. "Transforming these influences into something poetic is an important motivation for my work. The focus is usually on the human being - sometimes strongly exaggerated, sometimes carefully sketched."

Jane Garbert and KUNZTEN came together at her atelier space in Schöneberg, Berlin, for an artist interview #1. - "Plastic states - that can be something thrown away or provisionally attatched or a fleeting moment - are like visual impulses for me. Like a kind of appeal "Do something with me". I perceive these impuses every day - I am, so to speak, always in my work."