Bertram Hasenauer (*1970, Saalfeld, Austria), operates within the framework of classical genres such as figure, portrait, and landscape painting. However, his approach to representation cannot be confused with realism. His paintings transform subject matter from mere representations to images of a transcendental human condition. Landscapes become images of utopic universality. Hasenauer is interested in a condensed form of a higher reality. His portraiture emulates a sculptural presence as he carves the forms out of his monochromatic grounds, from darkness into light. His paintings are meditations on the banal - a landscape, a person, details of body parts, spontaneously emerging, a sheer witness to creationism itself. He follows the very idea of German Romanticism and its “Nature Animated", emphasizing the tension between the daily world and the irrational and supernatural projections of creative genius. 


Martin Wehmer (*1968, Hattingen, Germany), lives and works in Beijing since 2008. His paintings are an amalgam of modern European and traditional Chinese art, which guide his choice of content and representation. His subject matter is not only humans but animals, birds, folklore characters and trivial, mundane objects. While he adapts the painterly vocabulary and color of the German avant-garde of the 1930s up to Art Informel of the 1960s, he also draws on Abstract Expressionism and Non-Objective Art. Even though his work originates from within the context of figuration, Wehmer’s primary interest is nonfigurative and informel. The representational motif provides the pretext for his examination of painting essentially formal, gestural and technical. The dichotomy of meaning, symbolic representationalism, and the purely formalist inquiry of color relationships and painterly fluidity has been the core analysis of Wehmers' career over the past 20 years.

Sarah McRae Morton’s (*1984, Pennsylvania, USA) work appears as a surreal revisiting of 19th century painting, with contemporary access to painterly abstraction. There is symbolism in the language of the paint application - passages that appear like vignettes of former era in art refer to the theme of history repeating itself. With the transformation of her motifs into gesture and abstraction her work is representative for painting in the 21st Century - both in form and content.

Sarah McRae Morton grew up in rural Pennsylvania and studied at the Academy of Fine Arts, Pennsylvania. She lives and works in America and in Europe/Cologne since 2010.  The different cultural and sociological environments are also apparent in her work. She combines topics and motifs both of American as well as European arthistory and literature and collates personal stories or concerns with historic facts of the 19th and 20th Century.

Her compositions are both dreamlike and haunting, at once familiar and comforting, provocative and unsettling. Besides her interest in formal aspects of composition to build narratives, the evidence of observation and the almost always underlying political commentary referring to current politics is of high relevance for Sarah McRae Mortons’s work.


The majority of Kinki Texas’s (*1969, Bremen, Germany) heroes strike a valiant pose and embody a habitus of power taken out of context in an ironized way with a significant temporary character.

His works show his idea of what appears to be historic and ironic figures in contemporary contexts. They show a cosmos of absurd figures and motifs such as Knights of the Grail, zombie cowboys, clones and noble cannibals in a fragmented visual language, that confront the visitor with a great narrative complexity. The sources his works refer to, are anarchic and pictorial narratives of history and art history, especially history paintings and classical Native American Art, subculture, comic, History channel, graffiti and trash culture.

Kinki Texas’ works on canvas often comprise drawing and painting in one and the same work of art. Together with the detailed and small works on paper, they illustrate his approach to historic topics and his way emphasising them in his works of art.

Through the intertwining of techniques and themes Kinki Texas trivialized the Great and thus lets the banal appear great, certainly in an excessive and decontextualized way.

The works on paper  show also his conceptual intention and the artist's repertoire of forms and figurative elements as well as his sense of proportion and space.

The works on canvas, show the artistic cosmos in impressive and charismatic large formats that refer to the commissioned portraiture of political rulers in early modern or modern art.