This work marks a transition. Even though it's attached to the wall, it seems to stretch out into the room as a three-dimensional object. Its huge size makes it feel very solid and real. The material is bunched and folded, it bulges and falls away. Sometimes it hugs the wall closely, at other times it appears to float free in space. The shape and size of this work makes us think about the architecture. Move around the room and look at the canvas from different angles. How do the folds and shadows look in different lights?
For this piece, the artist chose a canvas that she didn't paint. This is very different from the dramatic use of colour that we are used to seeing in her work. This makes us ask: what happens if the artist doesn't make an artistic intervention in a space? You could call it an "anti-painting" or a "potential painting". It makes us think about what could have happened, rather than what is, and challenges what we expect to see. The artist's choices in this piece ask a deep question: is it the use of colour that makes an artwork a painting? Or is it enough to know that colour is possible?
Next, explore Rooms 115 and 114 before heading to Room 113, where you'll find early works by Katharina Grosse from her student days in Düsseldorf.