Re(al)es, 2026, 22 flags in the town of Rees, Fallstrasse, wood stick and digital print on 115 g/m² banner fabric, 1480 x 2960 mm (unframed)
Re(al)es 22 flags in the urban space of Rees The artistic intervention ‘Re(al)es’ features 22 individually painted flags in the public spaces of the town of Rees. The title combines ‘Rees’ with ‘real’ in a play on words, thereby reflecting the artistic approach. The flags are created from painted, small-format sketches developed intuitively and gesturally. The working method is based on the concept of reverse abstraction: the artistic process does not begin with a depiction of Rees’s urban landscape, but rather with the act of painting itself. Following the exhibition opening, the artist uses the colours found on the flags to specifically seek out colour correspondences in the real urban landscape, which she documents photographically, thereby establishing a link between painting and the real urban space. The colour correspondences discovered in this way are documented photographically and firmly anchor the artistic work within the urban context. This results in a complementary series of photographs that reinforces the connection between painting and the city. The display of the flags in public space transforms them into moving images: the wind sets the flags in motion and adds a real, temporal dimension to the painted gestures. In this way, the painting enters into a dialogue with the city, its rhythms and spatial transitions.
Re(al)es 22 flags in the urban space of Rees The artistic intervention ‘Re(al)es’ features 22 individually painted flags in the public spaces of the town of Rees. The title combines ‘Rees’ with ‘real’ in a play on words, thereby reflecting the artistic approach. The flags are created from painted, small-format sketches developed intuitively and gesturally. The working method is based on the concept of reverse abstraction: the artistic process does not begin with a depiction of Rees’s urban landscape, but rather with the act of painting itself. Following the exhibition opening, the artist uses the colours found on the flags to specifically seek out colour correspondences in the real urban landscape, which she documents photographically, thereby establishing a link between painting and the real urban space. The colour correspondences discovered in this way are documented photographically and firmly anchor the artistic work within the urban context. This results in a complementary series of photographs that reinforces the connection between painting and the city. The display of the flags in public space transforms them into moving images: the wind sets the flags in motion and adds a real, temporal dimension to the painted gestures. In this way, the painting enters into a dialogue with the city, its rhythms and spatial transitions.
