Our reality, like our personality, is not static, but in constant motion and change. Nothing is as it seems. If the perspective changes, sometimes everything changes. Julia Schewalie's works are enchanting because of their inherent ephemeral fleetingness, which is irritatingly contrasted by an often unusual materiality. The monochrome, perfect at first glance, is quickly broken up on closer inspection. All works always involve their surroundings, are dependent on light, shadow, movement. This is precisely what makes them so appealing, since their appearance changes continuously. The surfaces that change in the light imply a moment of dynamism - triggered by the viewers and their changing viewpoints or by changing light conditions in the room.

At the beginning there is always the open gaze of the artist in search of an unusual reflection. It is a wide variety of materials that arouse her interest. She then sensitively combines them into a large whole in an elaborate handcrafted production process. Following a minimalist-conceptual approach, Julia Schewalie controls material and form, but steps back behind the finished work as a person to allow viewers to engage completely in a dialogue with it. Despite all the reduction, her individual signature runs through the works: She carefully arranges vinyl records sawed and polished into fine slices, stretched nylon threads, cut glass or flamed wooden rods in many rows or squares. Minimally, she changes the angles of the individual parts piece by piece, as in an orchestrated domino game, lined up and yet not static. The incident light refracts differently and creates a lively, ever-changing surface. Iridescent structures made of PVC, asphalt and car foils - Julia Schewalie explores the most unusual materials that do not reveal their nature at first glance. Combining a sculptural process with a painterly character, the aggregate states of the surfaces often remain uncertain.

Anna Wondrak

Julia Schewalie focuses on the reflection of light on monochrome surfaces. The material used in each case is wrested from its original purpose. Then the creative work process takes place: she sorts, constructs, arranges, cuts accurately, composes small geometric parts into large surfaces, creates curvatures and newly structured image surfaces. In this way, the material appears sometimes hard, sometimes soft, without betraying its true state. It seduces the viewer into an interplay between construction and deconstruction. The changing reflections on the surface are always part of the work. The works capture the space together with the natural and artificial light and the viewer in an individual way. They change continuously and know no fixed state.

Anne Uhrlandt