The geometrical shapes and subdued colours of Katja Strunz’s works are aesthetically consonant with her high-ceilinged, brightly lit studio in Kreuzberg, as if they were presented in a deftly curated solo exhibition. The space gives her large-scale paper works and sculptures room to breathe, with areas for leisure and research dividing the open concept workshop.
Having reviewed Strunz’s 2013 solo show at Contemporary Fine Arts, I was familiar with some of the philosophy behind her work, where folding and unfolding refer to processes of time translated through space. In the context of her artistic production, Strunz uses scale models to map the exhibition space and experiment with the structure of her final compositions. At the entrance to the studio, metal sculptures and folded paper works are piled on a high table, evidence of these trials.
