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Artist Spotlight: Audrey Newton

Audrey Newton lets materials find their own identities. Through her work, latex, resin and silicon all speak for themselves. Attempting to remove herself from the artistic process, Audrey anoints herself the ‘chill mum’ that allows her materials do their own thing. This practise-driven artist lets her work find its own voice; one meant to be heard differently by the audience who view it.

“Trawling through the states of matter,” Audrey experiments with what materials can do, especially latex.

She feels that she didn’t “stick to” latex rather latex “stuck to” her. Inspired heavily by the work of Eva Hesse, Audrey is aware of how the materials she has chosen are impermanent and transient, reducing her “artist’s footprint”. As the latex dissolves, discolours, degrades and alters, its identity too evolves and presents itself anew. The work is active and establishes its own presence.

images by PILOTENKUECHE International Art Program

Audrey’s pieces are true inhabitants of space, not just mere visitors. Using her surroundings as the starting point, Audrey presents work that then disrupt this space. The materials change and converse with and amongst themselves. They occupy the space of their own accord. In line with Jane Bennett’s notion of ‘Vibrant Matter,’ Audrey wants to emphasise the “vitality of nonhuman bodies.” Objects are anthropomorphised and given life; independent of the artist.

The audience is heavily considered in Audrey’s work.

Her abstract, vibrant and ever-changing pieces are not intended for linear interpretation. She wants the viewer to create their own narratives. The life-span and meaning of otherwise ephemeral materials is expanded through audience participation.

Leipzig has made Audrey green with…inspiration! With work subconsciously driven by her surroundings, she has noticed that her current work uses green taken from the surrounding Leipzig. She is also utilising “formal” shapes resembling the bricks of the PK studio. Audrey’s work evolves in conjunction with the space she and her materials find themselves in. In the upcoming exhibitions, how will Audrey’s work introduce itself? What narratives will the audience create? And how will the work occupy the exhibition space?

Written by Rosie Shackleton

images supplied by artist

To see more examples of Audrey’s work visit her website, and you are welcome to the following exhibitions.

Almost Tension

Sat 29 Feb 2019


Geisserstr 75
04229 Leipzig

Sun 1 Mar, Thur 5 – Sat 7 Mar 

Hard Fluid Betrayal

Sat 21 Mar 2019


Sun 22 Mar – Tue 24 Mar

Franz-Flemming-Str 904179 Leipzig

i think you’re brilliant. i don’t think I’ve ever told you that, but it’s true.

solo exhibition

27 Mar

27 Mar – 15 Apr

Kohlgartenstr 51
04315 Leipzig

Artist Spotlight: Zara June Williams

Life is like a game. The Australian artist Zara June Williams explores the unexpected and the intuitive of the creative process. Approaches such as combining different individual paintings and interacting with remain marks and droplets of the paint allow her to view the familiarity with a new lens. She invents rules for her art-making and stays playful with the colours and forms. Her art practice seemingly parallels to the nature of life as a game, where we developed regulations and strategies, and laboriously invest ourselves into it.

“Sometimes I get so caught up in the complexity of it all that it ends up seeming like nothing. That’s how I feel about being alive in general. It’s everything, but it’s meaningless.”

Zara’s paintings come across as a game of vertigo and chance. Roger Caillois introduced the four elements of game in his 1958 Man, Play and Games (Les Jeux et Les Hommes): Agon, Alea, Mimicry and Ilinx, which means competition, chance, simulation and vertigo respectively. Intrigued by the remains of the process, she lies down papers beneath her paintings to catch the drops. “I guess I speak a lot about chance.” Often she wonders whether it is the unintended trace or her paintings are the actual work. “I think the interest came from questioning the ego and control. I found I was no longer satisfied with outcomes that I could easily anticipate.” 

To add the unpredictable quality into her work, she sets up certain parameters and games. For example, she took a cluster of wooden frames found on street which resonance Jose Dávila’s “Homage to the Square,” and lands it randomly on the surface. She then paints between the edges of the frames and repeats the process of interacting with the unintended composition of structures.”It is like I allow someone else to do something that I have to respond to.” Zara is meanwhile interested in working with found materials which already come with a character she can react to.

Her captivation of inviting chance to interfere with the work rises from the desire for the sense of an instant novelty. Ilinx,the Greek word for “whirlpool,” means the alteration of recognition, which Caillois defined as “an attempt to momentarily destroy the stability of perception.” “Assemblages is another way I can surprise myself from the outcome.” She cuts her paintings into half and plays around by putting different pieces together. “Cutting and reassembling works allows new and complete images to form instantaneously. There is a freshness to this method that I enjoy.” 

During the residency, Zara has started to experiment with integrating photography and painting. She takes pictures of her works, collages them in photoshop, and then transfers the resulting image on another painting. “Photography is potentially another tool I can use to accumulate information to the point of collapse. Finding ways to digest chaos created by my own doing is an ongoing challenge.” 

Written by Huai-ya Lin

See Zara’s work in the upcoming exhibitions


Saturday 17 August 

Sunday 18 August – Sunday 1 September 
10AM-6PM (closed Mondays)
Saalfelder Str. 8
04179 Leipzig


Friday 20 September
Saturday 21 September – Monday 23 September
PILOTENKUECHE International Art Program
Franz-Flemming-Straße 9

Artist spotlight: AL Kleiner


“Too much decoration distracts my thought process” confirms Adam, from the seat of his nearly empty Pilotenkueche studio.  Adam’s creative process begins with research in the form of reading. For this, he needs a blank environment. This provides him the clarity of a clean mental space in which he can grow new knowledge.

It was upon discovering the Contemporary Master Heads of the 1970’s that Adam decided to face his practice with a new attitude. After experimentation at The National Art School in Sydney, he decided to hand the paint brush over to the spectator at his graduate exhibition. Now his creations could be activated by interaction from the viewer. Adam created Micro Studios: sophisticated constructions of wall hangings, encasing canvas and painting materials. The expertise Adam gathered over years of landscape paintings translated into strict attention to detail and composition within the creation of his tangible objects.


photos by Pilotenkueche International Art Residency

A socially engaged practice satisfies Adam in knowing that he is critiquing the “look but don’t touch” ethos of the gallery space. He is hoping to push this further during his three month stay at Pilotenkueche. After a six month break from creating his own art works, he is entering the residency with no fixed program. With an interest in German politics, Adam hopes that his practice will be somewhat shaped by the dynamics of his new location and the social situations and structures in which he finds himself. I’m curious to experience how these discoveries are translated into a multi-sensory installation.

Written by Ciara Brown

Come and see what Adam creates in the following shows:

Unfinished Hase

Adam Kleiner has been inquiring about the current political and environmental climate of Germany due to the rapid rise of their populist party, the AfD and their desire to strip Germany’s renewable energy plan outlined in their manifesto. The work “Nimm eine pflantze – du wirst sie brauchen” (take a plant – you’ll need it”) focuses on distributing plants in exchange for a donation to extinction rebellion, an international social movement aims to reduce the current impact of climate change via non-violent protest and civil disobedience. Each plant in the work was selected for their noted air purifying qualities which further engages with the history of Leipzig being an industrial city as well as Saxony being the highest supporters of the AfD.

Vernissage:  15.02.19, 19h
Open:  16 – 23.02.19, 13 – 17h
Finissage: 23.02.19 19h
Alte Handelsschule, Gießerstraße 75, 04229 Leipzig, Germany

Fast Kotzen

Vernissage:  23.03.19, 19h
Open:  24 – 27.03.19 17h-20h
Location: PILOTENKUECHE, 2nd Floor, Franz-Flemming-Str. 9, 04179 Leipzig, Germany