Devoid of colour, Martina Steckholzer’s Neon uses only grey hues to further minimalise her architectural subjects; as the recognisable melts away through delicate layers of paint, only the empty inference of space remains. In Neon, Steckholzer uses the malleable quality of her medium to reflect phantasmal tricks of light, her graphic image dissolves into subtle hand-made gestures. Cut through with black forms, Neon gives the sensation of both solidity and weightlessness, creating an ephemeral expressionism from the cold rationality of photographic media.
Derived from a nature photograph, Martina Steckholzer’s Maybe We Should is a mere insinuation of landscape. Reduced to a series of black gestures on a white ground, Steckholzer’s canvas resounds with a strange absence. Referencing the high contrast of photo media, Maybe We Should occupies an unexpected space as a painting: cropped as if a screen, its stark contrast replicates an ethereal light. Fractured by her attenuate mark-making, the suggestion of image hovers with brittle fragility.