Artist Statement:
Patrizia Kränzlein's drawings, a combination of graphite and linoleum paint on paper, are mostly reduced to black, white and grey tones. During production, the paint is applied directly to the paper with a roller, thus the roller functions as a drawing instrument.

The works are developed from variable geometric basic forms and integrated segmentally into the picture surface. They show pictorial spaces that are configured by lines, surfaces, shades and depth spaces. In doing so, the artist always seeks the way into the depths, with a demand for the valid, towards the essential.

Ute Barth, gallery owner and art historian (ART FORUM UTE BARTH, Gallery for Modern & Contemporary Art in Zurich):
Patrizia Kränzlein, winner of our Young Art Award <33 (2016), is one of the young artists our gallery enjoys showing and will continue to show. Decisive for this is her ability to represent a well thought-out, disciplined and already mature concept that communicates itself directly to the viewer. Systems of representation based on reduction are not so rare, but it is rare to find one's own and personal form.

She fills her pictorial spaces in grey, black and white, develops them in spatial compartments, provides them with fine structuring lineatures and adds – purposefully and sparingly – scarce moments of colour that have an expressive signalling function.

The services of iridescent surfaces, lineatures, geometric and stereometric impressions offer a basically infinite repertoire of creative possibilities. Moreover, it will be exciting to observe how the colourfulness and the three-dimensionality beginning with the collages will develop further in her work. Her path into large formats is also consistent and the results impressive. Patrizia Kränzlein has already developed her very own signature. These are timeless works that do not have to shy away from the juxtaposition with works of classical modernism and famous contemporaries.

Prof. Dr. Helge Bathelt, art historian:
"Patrizia Kränzlein. The whole and its parts"
(...) The artist restricts herself to line and surface, to shading and depth. The works are developed from variable geometric basic forms and installed segmentally into the picture surface. Through the varied organisation of the surfaces and surface sections – also in their respective context to each other – and a transfer into the stereometric, Patrizia Kränzlein gains a creative vocabulary that allows her an infinite number of multi-layered variations and that is in principle open to something new: e.g. also with the – possible, but by no means compulsory – use of colour. The realisation of her pictorial ideas remains independent of the format. Recent works in particular make use of large surfaces. In addition to a differentiated handling of the surface, the line, which she often stages as a minimal free space between surface compartments, is equally important as a carrier of meaning. In her work, Kränzlein brings an expressive design element into the play of forms, which seems to measure the surfaces and spaces seismographically and builds up a nervous tension, i.e. one that touches the reception system of the viewer.

Naturally, Patrizia Kränzlein does without picture titles. To pursue only that which is given by the author in the picture would restrict access far too much. It is not swans on the Königsee, fed by Ludwig II, that are the subject of Kränzlein's pictures, but rather materialisations of spiritual content that want to enter into a dialogue with the viewer.

In the last few years of her still very young creative work, there have already been several exhibitions in very remarkable exhibition institutions. For example, in the Galerie Dorn/Stuttgart (where the last exhibition of the traditional gallery was held), several times in the Galerie Art Forum Ute Barth/Zurich, in the Galerie Wendelinskapelle/Marbach am Neckar, in the Kunstzentrum Karlskaserne/Ludwigsburg, in the K55 - Kunstetage Heilbronn e.V., in the Galerie Interart/Stuttgart, in the Galerie der Stiftung S BC pro-arte/Biberach and at KISS - Kunst im Schloss Untergröningen, and not only exhibition participations but also several solo exhibitions. There is no doubt that this path will continue successfully and it is nice that it is now supported by the Youth Art Award of the Galerie Kunsthöfle Bad Cannstatt and the Volksbank Stuttgart. [...]

Selected Solo and Group Exhibitions