In the images of Adam Saks the echo of the world that is marked with encodings and cultural tints meets a landscape that could not only change the color or its impact but also its message. That is the advantage of painting. Saks lets his subjects glisten like an opaque reflection on lacquer, his colors hint to graphics. They evoke a monochrome shadow of a printing foil or blood that runs out of an inkbottle. (Roberto Ohrt, Stormy Weather, Canvas and Gasoline).

Fabrizia Vanetta shows works of her current series in which she draws on around hundred year old music sheets with pencil, colored wax pastels and oil chalk. The printed background and the gestural sketch incorporate a relation that is harmonious and contrary opposing the given system and the free line. The subjects reach from still-life and ornaments to human and animal figures. Vanetta is interested in how the past is transported into the present and how – if systems of symbols (such as hieroglyphs or precisely music notes) can only be read by adepts – communication functions through symbols and finally images. The title “progressive studies” a term for certain musical pieces refers to the series’ open process and the drawings’ playful compositions.