The exhibition title TEMPORAL LAYERS refers to the way time becomes visible through printmaking. Moments accumulate, dissolve and return in altered form. Working with thin MDF panels, Faustmann repeatedly intervenes in the same matrix throughout the printing process. Rather than treating the plate as a finished tool, it remains open to change, carrying traces of earlier states within it.

Many of the works are developed in series, yet each print receives its own colour constellation. Repetition becomes variation; no image exists as an identical copy. Landscapes shift through subtle differences in tone, texture and overlay, reflecting the unstable character of natural perception itself.

Faustmann’s images emerge from an interest in how nature resists stillness. Light changes, seasons pass, surfaces erode, colours intensify and disappear. What appears stable is in fact continuously becoming something else. The resulting works oscillate between observation, atmosphere and memory, capturing fleeting experiences rather than specific places.

TEMPORAL LAYERS understands landscape not as scenery, but as an evolving condition: layered, unfinished, and constantly in motion.

In PULP INK PARADE, Roman Klonek presents new works and a selection of older pieces. He is one of the leading figures in contemporary woodcut art in Germany. For over 20 years, Roman has been developing his distinctive visual language through the medium of woodcut, demonstrating its relevance as a contemporary art form.

Roman is particularly renowned for his use of the lost-cut technique, in which all colours are printed using a single printing plate. After each colour is applied, the plate is further processed and reprinted until the individual layers of colour combine to form the finished image.

His works open up a world between grotesque humour, folklore, pop culture and Eastern European animation aesthetics. In vibrant colours, bizarre hybrid creatures, part human and part animal, populate dreamlike scenarios full of absurdity, suspense and narrative ambiguity. Influenced by the visual languages of Eastern European cartoons, comics and manga, the resulting compositions appear like stills from a film never before seen.

PULP INK PARADE invites you to follow these gripping visual narratives, to lose yourself in the details and to discover ever-new stories amidst bizarre moments, hidden clues and atmospheric shifts.

The NO : BOOKS Collective enters its third round and celebrates the launch of its new linocut book. Under the theme NO : SPORTS, 13 artists have created 48 pages of pure linocut energy.

The new artist book NO : SPORTS can be purchased alongside the exhibition or online at www.nobooks.org.

The exhibition title borrows a German term from tailoring: VORDERE MITTE, the ‘center front’, is a marking line on a pattern along which the pattern can be mirrored. In the artistic process, however, this axis is not fixed but shifted, dissolved and renegotiated.

Andrea van Reimersdahl’s visual language brings together textiles, the body and fashion. Drawing on a practice that is deeply rooted in textiles, both biographically and materially, she creates works whose abstract, organic formal language develops from drawing. Early experiences – working with her grandmother, a seamstress, and engaging in embroidery, sewing and silk painting – continue to influence her work to this day.

Here, textiles do not appear as mere material, but as sensually charged vessels of memory: personal, familial and collective. In the working process, they emerge as resistant agents that shift orders, dissolve contours and open up amorphous pictorial spaces. Lines evoke cut lines, silhouettes bodies, without ever becoming fixed.

This creates an unstable structure in which body, space and surface interpenetrate one another. The ‘center front’ does not remain a fixed point, but becomes a fragile point of reference – a line along which perception continually realigns itself and yet simultaneously eludes it.

THE FUTURE IS BRIGHT is the first comprehensive presentation of works from Daniel Lisson‘s COLORS series in Berlin. This body of works is characterized by Lisson‘s intense engagement with the medium of paper and the possibilities of abstraction, which he describes as a dynamic counterpoint to his illustrative work. The exhibition’s title captures the sense of this liberation and reveals the personal essence of Lisson‘s work, a symbol of the emotions and thoughts that accompany him during his creative process.

Lisson layers shapes and colours, cuts, tears, sprays, and arranges. He directs attention to small details and highlights colour gradients, colour mixtures, transparencies, and textures. For Lisson, creating art means engaging with the dynamic interplay between material, colour, and form. He views the creative process as a continuous reinterpretation of layering, producing depth and complexity. Through this approach, a vibrant connection is formed between the elements of his works, ranging from two-dimensional prints to multilayered collages and object works, creating a dynamic archive of his artistic development.

OHNE TITEL is Michael Zander’s first exhibition at whitegrid gallery. It focuses on monotypes created by the artist, who lives and works in Dresden, since 2020.

Monotype is undoubtedly the printing technique where the most coincidences occur during the artistic design process. That’s precisely why Michael Zander prefers to use it for his print graphics. He is thrilled to explore the effects of different combinations of colour and form that emerge when individual layers of paint are superimposed, and whose effects cannot be planned or predicted in terms of their nature and impact.

Michael’s monotypes are works that exist within the modern tradition of sans titre. He does not wish to set a linguistic or symbolic context through a specific image title. Instead, he leaves it to the viewers to freely associate and engage with the images in their own way. UNTITLED aims to provide the audience with complete freedom for their own interpretation.

Jonathan Lawes is part of a young generation of print artists from Britain, whose aim is to redefine the creative possibilities of screen printing through innovative techniques and artistic experiments.

After engaging in an artistic exploration of the relationship between print series and unique pieces (ONE-OFF, 2017), delving into the technique of layering (SELECTED LAYERS, 2019), and experimenting with open textures (IM/PERFECTION, 2020), Jonathan brings these aspects together in his fourth exhibition at the whitegrid gallery.

Not only does he combine them, but also expands upon them with another dimension. While his works have thus far been exclusively created on handmade paper, in BEYOND THE EDGE, Jonathan explores the creative possibilities that working on canvas and newsprint paper offers, each with its distinct surface characteristics.

Once again, Jonathan‘s focus is not primarily on producing flawless prints, but rather on crafting freely designed individual pieces that can only be implemented in their specific aesthetics through consistent experimentation with squeegees, screens, surfaces and colour.

Roman Klonek was born in 1969 in Poland, where he spent his early childhood. After moving to Germany and studying visual communication with a focus on printmaking (supplementing with a scholarship for woodblock printing at the Kunstakademie Trier) he works as a freelance artist, graphic designer and guest professor in Mainz and as a lecturer in printmaking at the Würzburg University of Applied Sciences. Roman’s prints have been shown publicly in numerous national and international exhibitions as in Hamburg, Düsseldorf, London and New York.

The exhibition shows works from different creative periods of Roman and provides an overview of the extraordinary artistic level of his woodcuts. The exhibition will focus on works that highlight the unique narrative qualities in Roman‘s art.

This is particularly evident in Yoshi Taxi Toshi, a central work of the exhibition: the print produced in 2022 conceals many small scenes in its surreally fragmented yet compact composition, each of which offers a potential point of access to the work. In these scenes, Roman lays out little tracks and invites the viewer to follow one or another. Along these tracks, the scenes eventually flow harmoniously into one another and condense into increasingly complex narratives.

The same applies to the creative components in Roman‘s works. Much arises from another element, flows into something else regardless of a fundamental difference, has no beginning and no end. Thereby, Roman‘s pictorial elements also become aesthetically representative of his fragmented and yet continuously flowing narratives, which emerge from ever new combinations when viewed. In his works, Roman invites us to continue forming his fragmented narrative components in our minds and to condense them into our own storielines.

In her current exhibition “RIGHT HERE, RIGHT NOW”, Susanne Thurn shows etchings that were printed on both paper and textile. A series consisting of a total of eight print motifs on paper in limited edition forms Susanne‘s starting point for her preoccupation with the themes of repetition, memory, moment and movement.

These central prints are examples of Susanne‘s work with empty spaces, surfaces and fine line structures. She experiments with omissions, overlays and accents. On the basis of fundamental geometric elements such as circles, lines and rectangles, she finds new structures and compositions in this way. The gravure printing technique used for all prints in the exhibition symbolizes one‘s own moment of pause, perhaps also a memory or expectation.

Based on this central series of motifs, Susanne expands the idea and adds the aspect of movement in space by repeating the printing process on freely hanging lengths of fabric. The mobility of the thin satin fabric makes the print motifs fluid in parts. This creates an interplay of form and material, space and time, which enables the viewer to find himself between the moment, memory and expectation.

Jonathan Lawes creates print art with a pronounced graphic aesthetic that reflects his love for geometry, shape and pattern. Many of his compositions develop during printing and gradually approach their final shape. Jonathan often returns to a work to add another form or colour until he feels the composition is complete. In his studio in South London, he creates his abstract compositions in a relaxed, organic way, that allows him to produce the unmistakable diversity of his work.

In his third solo exhibition at whitegrid gallery, Jonathan now focuses on the opposite of the clear lines he used in “One-Off” (2018) and the well-balanced, even transparencies of “Selected Layers” (2019): the imperfect.

Following this idea, “IM/PERFECTION” explores the aesthetical power of jagged edges, broken coloured surfaces, traces of the printing process and the resulting unique compositions of texture, colour and form.

To achieve this, Jonathan breaks with many of the classic basic rules of screen printing. He deliberately applies too much or too little paint, prints on uneven surfaces and experiments with different ways of using the squeegee. This very relieved way of working, freed from technical standards, enables Jonathan to explore the textures and shapes that arise from this deficiency, to engage in the magic of their randomness and thereby find the “perfect imperfection”.

Roman Klonek was born in 1969 in Poland where he spent his early childhood. After moving to Germany and studying visual communication with a focus on printmaking (supplementing with a scholarship for woodblock printing at the Kunstakademie Trier) he works as a freelance artist and graphic designer. Since 2013 he is a lecturer in printmaking at
Fachhochschule Würzburg. Romans prints have been shown publicly in numerous national and international exhibitions as in Hamburg, Düsseldorf, London and New York.

Roman fills his sketchbook daily with fragments of things and thoughts that are caught as directly as possible with quick strokes. It is sort of a collection of material and is not subject to any logic. In a second step, individual elements are then sorted out, condensed into “modules” and digitalized. Subsequently, a vector program is used as a composition tool. In this process, the arrangements of figures, backgrounds and sceneries that are typical for Roman’s work emerge.

To implement his designs, Roman uses the technique of woodcut. More specifically, that of the lost cut, where all the colours are printed from the same printing block. After a colour coat has been printed, the block is further carved and prepared for printing the next colour resp. form. The printing block can thus no longer be used for a new edition of the subject.

In Roman’s works, the transitions between figurative, abstract and concrete aspect are fluid. His imagery is largely influenced by the motifs of Polish, Russian and Czech animated films from the seventies, but also by the work of contemporary American and Japanese graphic artists. Their implementation in the technique of woodcut gives them their specific aesthetics, which transforms all these aspects and unites them into unique visual worlds.

Richard is a young printmaker from Leeds. While studying graphic design at Leeds Beckett University, he discovered his interest in printmaking. Subsequently Richard was a founding member of the Leeds Print Workshop, where he refined his printing technique and taught screenprinting workshops. Richard recently completed his Masters in Fine Art Practice at the Glasgow School of Art and is currently printing at the Glasgow Print Studio.

Richard’s main interest lies in the colours of a print, their relationships to one another, and the effects their combinations have on an artwork. He often uses existing structures to determine the composition of his prints. These can be derived, for example, from the simplification of maps or random series of numbers. The outstanding aspect in the realization of his designs is the achievement of a visual balance of shapes and colours.

The special works of his exhibition Formwork were inspired by the illustrations in blueprints. Of particular interest were the structures and forms in the architecture, which remain hidden under the facade, the steel girders, the concrete foundations, the brick walls. In his recent work, Richard emphasizes the parallels between the intrinsic nature of such a structure and the process of screen-printing, in which the forms are constructed using different layers of colour.

Toby Molitor lives and works in Berlin. After graduating from Central St. Martins in London, he moved to the German capital. Inspired by everyday objects in his environment, Toby develops his own visual language, which is characterized, among other things, by reduction and abstraction.

In his new exhibition STORYBOARD, two main topics on the subject of “skateboarding” will be in the focus: the material wood as image carrier and the representation of the skateboard deck in different variations.

Toby’s main media are photography and screen printing. In three independent print series, he documents the relationship between the image of the motif and the material and how they relate to each other. By showing boards in different stages of wear, Toby shows not only how the subject and surface change, but tells their story, makes them tangible and alive.

All works are hand-made silkscreen prints, numbered and signed.

Jonathan Lawes is one of the most exciting representatives of a new generation of printmakers from the UK. In his studio in South London he creates designs that present themselves in a very graphic way. They are heavily influenced by Jonathan‘s passion for geometric shapes and patterns and the use of sophisticated colour combinations, which make his artworks unmistakable.

In his new collection of screenprints Jonathan follows this principle consistently and continues to develop his ideas. Organic forms mix harmoniously with sharp lines, bright colours are balanced with subtle ones, elements form overlays that add depth and complexity to the prints. He uses the technique of layering, in which the individual colour and form elements are stacked on top of each other and, depending on the nature of the overlapping colour, shine through each other.

Jonathan continues to work this way with his more complex prints. He does this without an extended design phase and works layer by layer, so that the final design of the prints only comes about during the printing process itself. Jonathan uses only forms cut out of paper and adhesive tape to create his stencils. This leads to the unique aesthetics that characterize Jonathan‘s work.

Tanja Hildebrandt works as an illustrator and pattern designer in Berlin. She loves the combination of seemingly opposites and the contrast that arises from them. Her work is characterized by the combination of coarse forms and fine lines, the synthesis of black and bold colors, as well as the relationship between objective and abstract.

In her new limited edition screen print series FUTUGRAFICA Tanja Hildebrandt has dealt with one of the most famous typefaces of the 20th century: More than ninety years after its development by Paul Renner in 1927, Futura is still one of the best known and most widely used typefaces. Its modern characteristics, such as the very uniform weights and geometric basic shapes, inspired and influenced many, including the Bauhaus movement and their designs.

Tanja also plays with these characteristic features in her current limited edition print series and uses them to create new arrangements and form games. Among other things, it incorporates the textile patterns of Gunta Stölzl and Anna Albers as additional inspiration and thus opens up a new perspective on the very familiar forms of the classic Futura.

With his picture cycle SOUTH ISLANDS – Land Escapes. Druck Sensations. Dylan Bakker presents a new series of limited edition screen prints based on his 2017 edition KALGA. Each of the motifs is based on analog photographs that were taken in Autumn 2017 in New Zealand (Aotearoa) and then artistically edited.

In his work, Dylan combines industrial, serial creation processes with craftsmanship, complementing both with digital distortions. The focus of this project is on the development and use of various halftone screening techniques. Their application is not only the key to converting photographs into silkscreen prints, but also an essential part of the artistic interpretation of the motifs.

With the help of these specific techniques, along with surreal coloring and dreamy distortions, the various elements of the artwork fuse into a hyperreality that stands for itself. Like a Baudrillian Simulacrum, in which the distinction between model and image, original and simulation or reality and imagination has become meaningless and therefore both versions have to be considered equivalent. Pictorial worlds emerge from this fusion as hyperreal idealized ideas of longing for places, far from an equally imaginary home.

Marie Benaboud is an architect, based in Berlin. In 2016 she started her project named Blackout Cities. Combining architectural studies, photography and illustration she produces unique visions of urban sceneries.

The main theme of her first exhibition Disturbance is the examination of the repetitive elements and perspectives that determine the urban space of Berlin – and the confusing impact it sometimes has on the spectator. In terms of design, the typical use of black, which epitomizes the project, the rigorous composition and the absence of human presence still stand in the foreground. At the same time, in some of her new prints Marie is experimenting with transparency and colouring, creating artworks that offer a new look to the urban spaces surrounding us.

However, Marie does not only take up the concept of repetition and variation artistically. She also extends it to the prints themselves: Each of the three motifs in the exhibition is presented in different print variants and therefore focusses on a different aspect of the repetitive space constructions.

Disturbance is thus both a documentation of urban space and its structure and a visual interpretation of its effect on the viewer.

Jonathan Lawes’ work is presented in a very graphic way, with his love of geometric shape and pattern evident alongside his attention to prominent colour combinations, which are a significant part of his art.

The edition ONE-OFF concentrates these aspects of Jonathan’s art in a series of six monoprints, which are exemplary and unique at the same time. In spite of printing identical copies of one artwork, the form and colour elements are varied during the printing process, producing unique pieces of art. The beauty of Monoprinting comes out of its spontaneity and the connection to both, printing and painting.

Jonathan Lawes studied at Leeds College of Art, UK, and graduated with a Ba(Hons) in Printed Textiles and Surface Pattern Design in 2009.

Jonathan currently lives in Berlin working as a freelance designer and printmaker. He divides his time between designing for a variety of fashion and interior clients, and working on his own personal silk screen prints and other handmade design products.