Astrid Köppe, a Berlin-based artist, has devoted herself to a single format of drawing for over twenty years: biomorphic shapes meticulously rendered at the center of vertical white paper. The practice has also expanded into a larger, more materially grounded form—vitreous enamel on steel plates, a technique traditionally used for industrial signage. Working across these two materials, Köppe weaves riddles that unsettle the viewer’s perception, evoking nostalgia while simultaneously summoning memories of the future. Köppe’s work has been actively exhibited in the United States, Europe, South Korea, and Japan. Recent solo exhibitions include LAGE EGAL, Brussels, Belgium; Frodeman Gallery, USA; ten to then, Seoul, South Korea; Kunstverein Landshut, Germany; Gallery Sekiryu, Nagano, Japan; Seizan Gallery, New York.
Astrid Köppe works in a classical studio on her drawings but also in an industrial factory, the only possible place where the complex production of enamel can be realized. The large-scale enamels are reminiscent of Köppe‘s biomorphic forms, but they appear simpler and even more signalistic than her works on paper. Instead, the enamels have a strong object character because of their materiality. Their clearly recognizable patterns are reminiscent of pictograms, but they refuse to be univocal and retain a certain mystery. They are rather like road signs to a territory where one can not only examine the mechanisms of one‘s own perception, but also discover the beauty of forms.