Kategorie: Text – english

Julie August in the publication HAUT

Ina Geißler is interested in the boundaries in the in- terpersonal. In her installative work (un)gated (2023), in which three-dimensional cut-outs and techniques of visual poetry mix, fence structures that enclose themselves become objects that hang freely in space and are aesthetically pleasing – subtly also posing the question of inclusion and exclusion. The objects cre- ated from foam are hybrid artifacts between portable sculpture and cage, and thus oscillate in content between protection and restriction of freedom.

Frank van der Ploeg

Letters become words. Words become doubled, but also mirrored. Multiplicity strengthens contemplations called to mind. Ina Geißler’s paper works can be seen visually or verbally. Visually, they call your attention to form; textually they demand your concentration. This is not just because the letters are often in a modernistic font and therefore not easily read in a single glance, but in particular because they speak to the poetic insight of a literate viewer.

by Peter Lodermeyer (Translation from German Elizabeth Volk)

A major theme for Ina Geißler is painting picture spaces. This defines the productive contradiction that feeds her work, and infuses her paintings with their specific pictorial dynamics: It is the conflict-turned-fertile between the flat picture carrier and the interlocking units of spaces, composed of numerous painted lines, surfaces and structures that are interwoven to form a highly complex picture whole. The spatial effect of the pictures arises from the visual cooperation of the viewer. To an exceptional degree, Ina Geißler’s works require an active attitude in terms of reception. It is viewing as a conscious act.

Patrick Heide

Ina Geißler creates spaces; rather convoluted yet somehow familiar. Ina Geißler’s spatial compositions feel out the boundaries between perception and abstraction, between the second and third dimensions. Geißler’s ouevre moves between an allusion to existing spaces and their abstraction, although the tendency to become fully abstract has greatly increased in her recent paintings.

On the New Spatial Images of Ina Geißler | Daniel Marzona
(Translation from German by Heather Allen)

I first saw Ina Geißler’s paintings about two years ago in her beautiful studio in Prenzlauer Berg. She was working at the time on a series of pictures entitled RAUMLÖSUNG that were being discussed under the catchword „deconstruction“. This appears at first convincing, as her practice, developed mainly from her own photographs, fuses real and imagined spaces, in fact shows deconstructive traits. Strikingly, the results of this practice, in my view at least, could in no way be comprehended as deconstructivist.