Empfindungslandschaft 20

from Kiki Feltzinger

Height	42 cm
Width	29 cm
Length/Depth	0.1 cm

€220.00*

Prices incl. VAT and shipping costs

Description

Landscapes of sensation emerge slowly as a counter-movement to the present-day trend of acceleration. In A3 formats, layers are applied, dissolved, reworked and overwritten over the course of weeks and months. These works assert that perception takes time: not as a luxury, but as a prerequisite for depth. Where the world is reduced to data points and the future circulates as a marketing slogan, the series insists on the inaccessible: on mood, bodily awareness, and inner states of mind. Technically, each sheet begins with a print layer created using a self-developed process, a hybrid form combining monotype and letterpress. From this initial foundation, multi-layered surfaces emerge: ink, acrylic, occasionally oil, linocut inks, dissolution and reconstruction. The adhesive does not function as collage in the classical sense, but rather as a kind of geological process: layers hold, tear, bear, bury. In terms of content, ‘Landscapes of Sensation’ are not escapism, but a precise diagnosis of our times without slogans. The series captures the moment when a collective narrative runs dry: ‘Everything is getting better, more expensive, bigger, brighter.’ When this promise no longer holds, a sense of powerlessness emerges – but so does the possibility of rethinking action. They do not ask for optimism, but for sustainability: what remains when the artificial light of the future fades, and which forms of perception only then truly begin?

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Kristina Felzinger

My name is Kiki Felzinger, and I am a fine art student at the Berlin University of the Arts. My painting emerges from a struggle with identity – not as a promise of perfection, but as an invitation to endure what is already there: the ugly, the tragic, the tenacious. Over the course of months, I layer paint, strip back canvases and paint over traces until a resistance becomes palpable in the material. Within this structure, human-like figures, landscapes, unfamiliar vegetation and cactus-like formations emerge. One point anchors the real, the next eludes it. This deliberate friction between figuration and abstraction reflects a time in which society’s encounter with itself takes place under conditions of crisis: entanglement, invisibilisation, the loss of footing – alone and yet amongst people.

A formative experience is the contrast between Transnistria and East Germany: the echo of a pig’s squeal carrying across villages; harshness and voids seeping into the colours. From this balancing act, images emerge that open up an in-between space in which waiting becomes possible: pausing, not correcting. I am less interested in who we ‘want to be’ than in how we actually behave – often more instinctively, more animalistically, than our self-image allows. My works are not solutions, but touchstones for authenticity. They ask whether we should not first take three steps back in order to practise common ground and acceptance – before we move on.

Over the past few years, I have carried out a wide range of projects – from solo and group exhibitions to educational workshop formats – and gained initial experience of securing funding.

2025Group exhibition