Andrea Freckmann (1970) invited Dodo Albrecht (1972) to join her in an exhibition after recognizing a similar attitude in Albrecht’s ceramics and her own paintings. The freedom with which Freckmann depicts the perspective and proportions of interiors and objects, is comparable to the unruly way in which Albrecht designs her ceramic vases. They are for instance only partly glazed or built up with clay rolls that are put together vertically against each other instead of horizontally. In essence, they are independent sculptures that retain an echo of the everyday, practical vase. Their genuine and rudimentary form emulates the objects in Andrea Freckmann’s interior paintings. The recent lockdowns have intensified Andrea Freckmann’s focus towards depicting the interior and domestic objects.
The larger paintings portray a room in its entirety, while the Randstücke and Zwischenstücke (side pieces and in between pieces) are smaller canvases that highlight specific objects and birds featured in the large paintings. They hang like satellites in the exhibition, yet not necessarily placed directly next to the work from which they derive. The viewers are thus invited to develop visual connections themselves. Dodo Albrecht’s vases are exhibited in open wooden racks resembling those Freckmann has at home. This display brings together the physical configuration of her own house, its painterly depiction, and Albrecht’s sculptural work, in a kind of meta-interior in which reality and its representation move around each other.