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Artists exhibiting at PaintLounge Berlin

Julius Bobke, Katrin Bremermann, Simon Burton, Lisa Denyer,  Geraint Evans, Pius Fox, Alison Goodyear,

Alastair Gordon, John Greenwood, Vincent Hawkins,  Linda Hemmersbach,  Gabriele Herzog, Stelios Karamanolis, Erika Krause, Paula MacArthur, Andrea Medjesi-Jones, Charley Peters,  Ruth Philo,  Alex Roberts, Maximilian Rödel,  Wendy Saunders, Sophia Schama, Nicola Stäglich, Geraldine Swayne, Miriam Vlaming, Casper White, Michaela Zimmer.


F Acrylic on sewn linen 75 x 45 cm 2018.


"F", Acrylic on sewn linen,

75 x 45cm, 2017

"A piece of fabric sewn on an old piece of linen. Traces of its backside paint come up to the frontside. (return)

Two textiles meeting each other.








Acrylic on canvas, 39 x 40 x 6 cm, 2018        


Research and observation to find the perfect solution.

The material, the color, the surface and the shape, a game with myself.

My studio is a laboratory.

A challenge and a constant learning process, about me, my knowledge and the unforeseen.


Instagram - katrinbremermann

Simon Burton This ae nighte oil on canva


“this ae nighte" 

Oil on canvas on panel, 61 x 75 cm, 2018

Simon Burton’s paintings are constructed from tatters of memory. Reclaiming, recycling, repairing and reforming paintings past, their surfaces are inhabited by the accumulation of touches.

The multiple layers of paint are frustrated by the very effort that brought them into being. Burton's painting courts this as a type of dilemma; it is clogged with incident yet senses an encroaching emptiness.

There is a negotiation between the actuality of a materially marked surface and the potential for that surface to contain the appearance of something. It sits on this strange threshold where the painting both coagulates and disintegrates.

Instagram - simonburtonstudio

Lisa Denyer Greenwood acrylic, collage,


Greenwood, Acrylic, collage, filler and chalkboard paint on wood, 24 x 29cm, 2018

My practice looks at the contrast between the slow, considered
process of painting against the sensory overload of daily life. It explores those polarities in relation to the body, the physical world, the transient nature of city living, the virtual, and the relationship we have with the spaces we inhabit.


My choice of materials reflects the solidity and objecthood
of paintings. The surfaces are dense and weighty; heavy plywood, panel, wood, clay, and sandpaper. The handling of paint and the interaction between the medium and the raw surface
on which it is applied remains a primary consideration.

Instagram - ldenyer

Twitter - LisaDenyer


Bigfoot 2.jpg

Bigfoot Oil on board,

62 x 57cm 2017


In ‘Bigfoot’ (2017) a tourist, complete with a bag of souvenirs, poses for a photograph with a friendly Bigfoot, a mythical signifier of the North American wilderness. We witness a safe, predictable and calculable encounter. I am interested in how we perceive the natural world and read it through a social, cultural and political lens. We encounter the natural world in gardens and parks, in shopping malls and suburban green belts, in national parks and theme parks, as gardeners, ramblers and tourists. We see nature framed by a train window or a camera view finder. We seek out scenic views and ‘wild’ places for contemplation, adventure or to find a sense of liberty. As the the writer W J T Mitchell’s observation that: “landscape is a natural scene mediated by culture

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Etappen  Acrylic, egg tempera on paper on aluminium. 

44 x 32 cm 2018

On the endlessness of painting. The solidified search. To leave a trace in snow. The Image is the search for a place, a space, the pursuit of reality and its seductive allure. What I want to see as a representation of this reality is what excites me because I don't know it. The image is not visualisation, but the search for the as yet unknown. This is its boundlessness and its excitement, its limit and its infinity. The circles of the eagle.

When the image is dry and therefore departs, the real discourse begins to bloom, the discourse of achievement and unattainability. Then, the fleeting or extended moment of the end of the image and the question of the arrival or continuation of the journey commences. It is a struggle, an unceasing awake state.

The framing of the night.

Whether softly or hard, the frame is what encloses the space. It delimits the happening.

So, what is the reality of the embraced incidents, what is within the frame, what is behind the door, behind the window, what happens on the surface?

What does the found and the created reality in a room tell me?

It is what I am not able to grasp with linguistics, surrounded by the burden of the visible and the dissatisfaction of the invisible. It is what forces its way only like that, through the colour.

Alison Goodyear 'Egreeyallaisy' 2018.jpg


'Egreeyallaisy' 65 x 81cm

Acrylic, ink and oil paint on silk and canvas 2018

I am a visual artist, working predominantly within the field of painting. The paintings I make explore the idea and possibility of how an artwork might intervene in the ‘normal’ regime of vision, whilst exploring the materiality of paint and process. Here the relationship of beholder to painting is addressed by attempts at toying with the viewing experience by using materials such as silk and paint mediums combined with paint and photography. I often use photographs of my palettes within these works. This chronicling of process within process combines: the mindless with the mindful, digital with physical, production with reproduction, ‘authentic’ with ‘inauthentic’.

Instagram -



Oo Ya Make-a Me Feel

Oil on wood, 50 x 40cm, 2018


At first, I make paintings about painting: images that oscillate between artifice and artefact. My paintings strongly reference a form of 18th century illusionism  called quodlibet (what you will). From here I paint an array of objects to appear as ‘pinned’ or ‘taped’ in low relief on a wooden surface. What at first appears to be a random selection of residual items such as scraps of paper and the residue left over from the painting process is later revealed as a carefully rendered trompe l’oeil. Certain questions are raised about illusion, replication and the way artists utilise source materials.

Instagram - Alastair_gordon



Another Singularity

Oil on canvas, 35 X 30cm 2017 

Greenwood is inspired, in part, by 17th century Spanish or Dutch still life paintings with cabbages, melons, weird carrots and threaded sparrows.’ He is an unapologetic raider of other people’s paintings. To his mind, art of the past must be fermented and feasted upon to bring nourishment to his own.  Only then do glass vases in the floral still lifes of de Heem and Ruysch emerge as ‘objects that have observable internal spaces, viewable through glass, crystal, or inflated transparent membranes’. 

In Greenwood’s paintings, dysfunctional desire and material excess are  exposed as disorderly, pretty, playful, repulsive things that over-extend themselves with limpid gestures within clinical confines.

Instagram - johngreenwoodartist

Facebook- John Greenwood Artwork

Vincet Hawkins_edited.jpg


Howard Hodgkin and Christopher Wool’s Love Child

Acrylic on Canvas  41x31 cm, 2018

I tend to be drawn to art that does not necessarily try to look like anything in particular, and does not attempt to persuade the viewer towards a “specific” meaning through its subject matter. How a piece of art is made, is subject in itself.

I work in an improvisational way, never knowing from the outset how anything will turn out .

“Don’t try to be too inventive. The more your art reflects you, the more it will speak to other people. If you are not sure what you should do, just do whatever comes into your head or catches your imagination. Gradually, it will lead you to where you should be. Making art is a path not a destination.”  

Michael Craig Martin

Instagram - vincent_hawkins_

LHemmersbach_ivu_pigment on aluminium_20


ivu  Pigment and acrylic medium on aluminium

15 x 20cm  2018

I make paintings, drawings, assemblages and objects. My works are informed by personal perceptions and experiences of place and landscape; exploring notions of transience, displacement, the Intangible, and the relationship between body and land. I am fascinated by the rhythms, structures and cycles that underlie all natural things, both living and nonliving.

Instagram- linda_hemmersbach

Twitter - thecoralsea1012



Untitled (black with light blue)

Oil stick and acrylic spray paint on canvas

130x80cm 2017

Gabriele Herzog works the surfaces of her canvas in such a way that the elements of light and dark, or rather, negative and positive space become complex and undefined. What was once positive now appears to be negative. There is a formidable and delicate tension between the balance of positive and negative space. This tension evokes a reaction of emotional immediacy, a sense that the balance could be knocked off kilter at any time. The works are viewed with caution. The finished works expose a sense of calm but are menacing nonetheless.

Sascha Gianella, SGAC - April 2017

Website -

Instagram - gabriele_herzog 


oT (out of the sun and fire drawings), i

untitled (out of the sun and fire drawings), ink, pencils and markers on wood,

80 x 72 cm, 2018  


My paintings are based on the line and its expressive possibilities, they can be seen as a kind of writing a diary. I am interested in an uncontrolled and spontaneous process, working out of the movement of the hand and body. Using fluid paint like ink with pencils and crayons on different surfaces as canvas, paper, wood or directly on the wall. The works are developed mostly over a long period of time. 

It`s a sign language which is growing through adding, deleting, painting over, letting gaps and remaining in abeyance between narration and abstraction. 


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Untitled,, Mixed media on raw canvas,

70 x 90cm 2018

Courtesy of the artist and Flatland gallery Amsterdam

The pictographic signals from raw canvases unfold the world different than the reality we seem to belong to. My creatures seem to carry history with them, engaged as they are with the ancient circular elements and geometric shapes, the Eastern Mediterranean vocabulary of mythological motifs and modern contemporary life. With bright crispy yellows that assist the few Attic-style black lines, this legacy is connected with ideas that demand to exist; beyond normal control. Amalgamated into the surreal these are the subterranean entities that exist in the psyche of us all, just beneath the surface of the waking day. Karamanolis carefully choses the fragments of past and future tenses. The rules of engagement are thus: aesthetic and technical approach are not related, philosophical thoughts become the articulations of process and time, inspiring thoughts on our personal (un)-identifiable cultural roots.

Website - 

Instagram - stl_kar


MacArthur Joy experience at that moment

Joy experienced at that moment 

Oil on canvas, 100x100cms, 2018

My paintings are love songs, celebrations of the joy and the pain in life. Following in the tradition of memento mori they began as a personal celebration of love and a reflection on the fragility of the ideals we yearn for. Painting is my response to my private world within the broader political situation in which I examine universal themes and the symbiosis between mutually balancing states, light and darkness, love and loss, trust and fear...

The stylised curves in the Rococo paintings conform to mathematical patterns. These underlying structures give an innate harmony and a grounding connection back to Renaissance ideas of universal interconnectedness. Obeying the laws of physics, liquid paint embodies the barely perceptible degradation of our universe.

Website -

Instagram - paula_macarthur

Twitter - PMacArthur

Andrea Medjesi-Jones, Assembly line_edit


Assembly Line, stitched canvas strip, pigment, oak support & feet

1m x 11cm, 2017


I am interested in the concept of abstraction in a broader sense of philosophical and political enquiry, also a visual language and a tradition in painting. My understanding of it reaches beyond metaphysical or formal means of expression. Instead, I look to investigate it as a form of embodiment and ideology, which is informed by its structural conditions; also, a notion of placement and locality that takes its reference from the work environment such as factory and a field.  The systems of labour that are structured and employed on factory floor (repetition, physical restriction and the use of technology) are examples that inform physical, also performative investment in painting, its function and identity.

Website -

Instagram - andrea.medjesijones

WYWH insta.jpg


WYWH, acrylic and spray paint on wood panel,

61cm x 91cm 2017

Charley Peters' work is concerned with the spatial potential of the painted surface, on which she applies subtle variations in colour, tone and scale to construct illusionary light and structural depth. Starting from an interest in abstract painting, the work considers the manifestation of painterly language in the context of contemporary media, where viewers experience multitudinous visual information in quick succession, often dematerialised and seen on screens. Using techniques of layering and juxtaposition as a means of exploring the materiality of paint, Peters explores the disrupted syntax of pictorial composition synonymous with our experiences of reading space, material and abstract form in the post-digital image world

Website -

Instagram - charleypeters

Twitter - charley_peters



Waiting Rooms: Yellow

Oil, wax, graphite on canvas, 50 x 50 cm 2018


My paintings explore abstraction and materiality through colour, light and surface; work combines inner and outer worlds, with conscious and unconscious elements. I enjoy the openness, fluidity and risk inherent in painting, resolving (or sometimes not) individual pieces through a dialogue with the process. Work often evolves from walking and connections with place. I  am interested in the geography of pigments and often make paint from materials collected whilst travelling.




Website -

Instagram - ruthphilo

AlexR_10Uhr_11B nach London_III.jpg


10 Uhr, 11B nach London III

Pigment and oil on silk, 80 X 60cm 2018

Image credit: Laurin Gutwin.

Alex Roberts  is a British artist that lives and works between Berlin and the UK.  She works with paint and translucence, addressing paintings’ surface, layers and spatial depth, via the play of colour and immediacy of marks. Testing the sliding scales of figuration and abstraction, her focus is how we perceive identity, change, and encounters - human tangibility.


Currently she is exploring the tensions between what is public and what is private: how, in today’s digital world, appearance often contrasts with reality and sociability belies intimacy.

Website -

Instagram - alexroberts975

Twitter - alexroberts9

Pygmalions Garden (small2), 2018, 50x40c


Pygmalions Garden

Oil on canvas, 40 x 40cm 2018


Website -  

Instagram - max_roedel

Wendy Saunders Abstracted head (veil) 20


Abstracted head (veil)

Oilbar on dry oilcloth, 24.5 x 21 x 10cm, 2018 

Works are small wall based semi-abstract paintings. They are an evolved, abstracted representation of the human form. However, the work I am making still has elements of figuration in it, even if that is just in my mind. They are still portraits…

Materials are critical to the process and subtlety with these materials is enabling me to suggest ideas about human expression albeit obliquely. I call them paintings although sometimes they may be more in the territory of objects or sculpture.

Website -

Instagram - wendymsaunders

Twitter - wendymsaunders




Oil, acrylic on canvas, 90 x 70 cm 2018

Thematically, my focus lies on the ambivalent relationship of humans to nature/wilderness in urbanity as well as on different artistic forms of appropriation of "wilderness" - in the sense of a symbolic confrontation with "nature".

I am interested in pictorial space, form, structure, surface, colour rhythm and energy.

In this work "Hecke" I would like to translate the action on the computer or mobile phone into an analogous form/painting.

Similar to wiping on the touch screen, the wet paint is mixed and drawn on the canvas.  

Website -

Instagram - sophiaschama



White Light
Oil behind acrylic glass, 50 x 50 x 3cm, 2018

Stäglich’s works are known for their very clear formal language. Architectonic layers of horizontal and vertical strips of color alternate with clearly defined forms in motion, such as semicircular arches and spirals that come alive as the paint flows and is sprayed on.

With Stäglich’s work series, “Transparencies,” and her use of a new type of substrate,acrylic sheets, the light comes into focus as a physical phenomenon and as a medium that determines the essence of painting. The color floats like a photographic slide on the luminous body that is the acrylic sheet, where it forms a visible shadow that’s cast onto the wall parallel to and behind the painting. The wall thus turns into a (light) projection surface for the painting. At the same time, the transparent sheet also liberates as well as presents Stäglich’s painterly actions in terms of an autonomous and ritualistic type of mimesis. Presence and emergence, along with such genre-specific parameters as dynamics, coincidence, and the poly-sensual involvement of the viewer – these factors appear to renegotiate the concept of painting in Nicola Stäglich’s works.(...) (Jette Rudolph, 2018)


Website -

Instagram - nicolastaeglich



Dirty Danish Dolls 

Enamel on aluminium, 25.5 x 20.4cm, 2017

Swayne is a figurative painter, often on a very small scale, addressing unease in the human condition. The subjects used are not deliberately sensationalist, but works with a filmic atmosphere, dreamlike quality, and slightly disturbing undertones. 

Website -

Instagram - geraldineswayne



For Colour Projection
Egg tempera, 100 x 100 cm, 2017

The artist Miriam Vlaming always keeps the whole picture in mind, in her mysterious images. In fact, there can’t be many people who tackle the big questions. Miriam Vlaming is one such. She prefers an aesthetic that hovers in the interval between doing and done, between the past and the now: “It’s the interruptions and contradictions that interest me… the moment after or before something happens… not the big story.” Her images constantly evoke landscape, enlivened with hints at nature and human figures in scenarios that prove highly fragile, right to the point of dissolution and abstraction. Many of her paintings have the look of old, faded and badly damaged photos, whose subjects are so unclear, they can only be guessed at – regardless of whether they were discovered in old albums or are current images found in print media or online. Susanne Altmann has designated the artist a “visual anthropologist”. Martin Oswald

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Instagram - miriamvlaming



Study for Into a light (Mabli)

Oil on canvas, 50x40cm, 2018

Casper White’s new work comes from exploring subcultures that are not traditionally recorded in paintings: a person losing themselves dancing to a DJ in a nightclub; a fan staring up from the front of the crowd at the band. Casper is interested in the fantasy and careless abandon these environments foster; the euphoria of the experience and the makeup that creates a fictional, idealised version of oneself.


Last year Casper won the BP Portrait Travel Award for his proposal to paint the subculture of clubbing in Berlin and Majorca. The work resulting from this award will be exhibited in the 2018 BP Portrait Award at the National Portrait Gallery, London, before touring to Wolverhampton and Edinburgh.

Website -

Instagram - casperwhitecasper



"181018",mixed media,

130 x 74 cm,  2018


The process-based character of performance is the basis of Michaela Zimmer’s paintings. Her longterm research is evident in early time-based sculptures comprising of photographic records of the interaction and energetic fusion of the human body with objects.

The body, conceived as a social and political entity appears inseparable from the environment. Zimmer’s cross-media approach also becomes apparent in her collaboration with dancers when non- hierarchical responsive choreographies explore inter-relations in space. Emphasising on provisional tracjtories deconstruction and disruption turn into empowering elements for collective energy.

It is the enactive consciousness of these physical processes that Zimmer transfers on to the painting support, where the dichotomy of abstraction and corporeality disappears in the merging of image and object, illusionary space and material. Sculptural elements enhance the oscillation of spatial awareness, their interference forcing the viewer to move bodily around the work to engage with it. Never appearing quite the same when viewed from different angles, the transient nature of the surface encourages the viewer to react to the work physically, which in a way, reflects the act of making.

Website -

Facebook - michaela.zimmer

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