"Grosse makes canvas of architecture, erecting varicolored walk-abouts by using hundreds of litres of spray paint; mounds of earth; mammoth, leaning discs; and other big, wadded-up shapes. Viewers are not allowed any of the usual aloofness in their relationship to the artwork, as they literally walk through an airbrushed terrain. That status quo is dissolved. At once dreamy and seemingly protean, the space still renders you surefooted but takes your wit from you, bringing you into an unfettered realm.

Appropriately, all of her installations are a one-time deal—they are site-specific and short-lived, as if reveries."



"Near the end of the 1970s Bernard Frize decided to devote himself to painting. Any other decisions he left in large part to the idiosyncrasies of the medium. Already with his early work Frize burst the cult of the artist as a creator. In his view, the artist is not above anyone else: he is merely a 'labourer' who produces paintings. Frize bought template rolls with figurative shapes he applied on the canvas.

With the smallest brush he could find, he patiently filled in a canvas measuring one square metre with short brushstrokes. Frize's painting is based on technique and movement. He does not believe in personal expression, communicating a message or political statement. He wants the medium itself to speak, to purify painting, to peel painting until only its bare essence is left: paint, tools, the technique of applying paint on the canvas. Simple methods determine the motif or pattern.