Texts

Telling stories without prescribing the concrete content to the viewer, not with words but with images, with colors, lines and patterns. Developing one’s own symbolic language, which becomes more steadfast and real through repetition.

The depictions of shadows, for example, suggest a reality of abstract forms, which thus seemingly become objects and create spatiality.

My works tell about life. They tell stories that should exist and function both on an iconographic and on a purely formal level. The content is to be equated with the importance of the pure composition of colors, surfaces and patterns.

The works should remain open for the viewer’s own content. And at the same time function on a formal, purely visual level with playfully and intuitively placed surfaces and gestures that attach themselves to or disturb and decompose the underlying system.

Of course, my own stories, experiences and impressions flow into the works. Personal elements and memories are incorporated without personifying. Memories play a major role, everything we perceive and feel is based on our experiences and the memories that have arisen from them.

My works contain overlays that are to be understood not only spatially but also temporally. Childhood memories and utopia at the same time.

Two chairs under a blanket. Nothing more is needed to create a whole world of one’s own in childlike perception. A safe place where everything can be allowed and where, above all, no limits are set to the imagination.

Every child builds huts, every person has memories of this original joy and freedom.

This phenomenon has fascinated me for several years. My hut paintings are utopian visions and childhood memories at the same time.

Color spots and shapes become objects. Personal elements are incorporated without personifying.

I go into abstraction to give the viewer’s imagination its freedom and to stimulate it. Everyone should be allowed to see what their own creativity shows them.

An excursion out of the everyday life of adulthood and into the world of memories and joy, past and future at the same time.

When children paint a building, they almost exclusively draw a house, not churches or shopping malls, often free-standing, with their own family as the only inhabitants. The need for one’s own dwelling, the undivided roof over one’s head, is anthropologically almost as constant as the need for regular food.

On a smaller scale, these are rooms within rooms, caves under dining tables, blanket structures in room corners, a cardboard house made of paper waste, which satisfy not only a childlike longing: to be inside and outside at the same time, protected and invisible, able to see and follow everything that goes on outside.

Anna Weber paints these unmixed realms as simulacra of protection. With so many combinable elements in the world, it is frightening how rarely the right combinations occur. Weber asks herself the question of what one must combine to think something like ‘cave’.

Children know this question and build huts and caves out of everything they find and what they consider suitable as ‘roof’ or ‘wall’, ’entrance’ or ‘floor’. Anna Weber builds caves out of color. And tears them down again with colors.