Chromology -
an exhibition by Brigitta Hoeppner

in EINSTELLUNGSRAUM from 18.01. to 16.02.2007

Opening talk by
Erica Lotockyj,
held on 18.01.2007
Dear art interested guests, dear Brigitta!

I dearly welcome you to the exhibitin with the title CROMOLOGY, where the new works of the painter BRIGITTA HOEPPNER will be shown. The EINSTELLUNGSRAUM has the aim to exhibit subjectivly "Art in street traffic" with yearly themes.
As you may already know the exhibition subject for this year is the phenomenon of SCHEIN* (illusion) - a broad field where Scheinwelten (illusionary worlds) from Fuehrerschein (driver's license) to Lichtschein (light-gleam) are looked at in nuance (* please refer to preceeding page - introduction - where you'll find some explanatory words to the German term "Schein").

Brigitta Hoeppner was born in Hamburg in 1967. She studied fine arts in
Hannover with Prof. Ulrich Baehr. After her diploma her work was shown in various exhibitions - not only nationally but also in Amsterdam, London, New York and Gent. In 2000 and 2002 she was teaching in the USA at the Boston Art Department. In 2004 she received the Culturprize of Pinneberg.

CROMOLOGIE. This exhibition baffles. Who of you knows what Cromology is? Or is there even a cromologist amongst us? To decipher cromology it makes sense to look at the development in Hoeppner's paintings.

Who knows Brigitta Hoeppner''s work so far is likely asking how it happened that her work is appearing in this context. Because her paintings exemplifies itself through a strong connection to

architecture. Already in her earlier work she managed to limit space vertically and horizontally in laticed bruchstrokes, first associations with architectural structures and urbane living areas become possible. For long the strong straight and diagonal lines dominated the canvas, rarely a round shape recognizable. Only through influence of her times in the USA is the round shape added to her work, through which her paintings accept more and more precise and more real shapes. The architectural space steps more and more into the forground where for example glas domes, window panes and steel girders are to be recognized. More and more she concentrated on reflections in architecture, hence there where gleaming surfaces reflect distortedly the inside of buildings. This can happen with banisters or struts and everywhere where often chromed architectural accessories are to be found, like bannister handrail, etc. The space concentrates on the projection field, seems to dissolve in it, is presented mirrored and irritates the onlooker everytime when being asked for his/her position. Stimulated by these reflections within architecture she intensified her view last year on everything metallic. Different from regular reflections metal reflects not only strongly distorted but also with some own colorfulness.

Planing for an exhibition project this year in Berlin at Meilenwerk (name of an culture centre devoted to everyting automobile) lead the artist to a deep occupation with the subject automobil. Here she re-discovered her fascination for everything mirrored, especially with Old-timer cars which with their chromium-plated bumper bars or headlights offer enough space for projection. Different from the reflecting surfaces in architecture which are statical with cars the possibility of movement adds to the reflection. Now it is not architecture alone that gets reflected but everything what a parking or moving vehicle on the street catches of its environment. sometimes it is only for a blink of an eye.

BRIGITTA HOEPPNER observed something very interesting. in most car advertising brochures almost all gleaming spaces are