At the Paper Positions Basel we present recent works by the young artist Viktoria Strecker. Her drawings and installations are reminiscent of biological systems, which are built up from repetition and often are both
macroscopically and microscopically readable.
Viktoria Strecker (born in Hanover in 1987), a student of Marcel Odenbach at the Düsseldorf Art Academy, deals with filigree work processes with various forms of expression of a timeless and universally valid original structure. Her drawings, as well as their translations into objects and installations, are reminiscent of biological systems, which are built up from repetition and often are both macroscopically and microscopically readable. Strecker started at the Academy of Fine Arts as a painter, but it quickly became apparent that the question of formality and structure was more important to her than color. "The drawing continuously accompanies Streckers work and forms the starting point of all groups of works, however different they are in technology and material. Compared to painting, drawing is more original for Strecker, more direct, more definitive. Once set, it can no longer be removed or covered up. [...] The motor of innovation in Viktoria Strecker is a peculiar combination of mania and method, of intuition and systematics in the technical field, of surprising choice of materials and of responding to situational conditions. "(Quotation Manuel Ströhlin) Her drawings on paper with pen, fineliner and graphite show a depth that intervene in the three-dimensional space. At the Paper Positions Basel we present recent works by the young artist, who has already been able to look back on numerous scholarships, prizes and exhibitions (for example Museum Kunstpalast Düsseldorf, 2018).