Rather than focusing on actual space Melanie Siegel’s main focus lies in illusionistic space. Constructing and deconstructing rooms on canvas, she interlaces two-dimensional into three-dimensional space by means of lines, structures and planes. She often cites structures and shapes from wood that however, due to a certain pull of the layers of the painting, draw us into an allegedly unfathomable depth of space.
Or else, they elevate certain elements from within the depth into the forefront of the image plane. In this way originated paintings like the wooden funnel (“O.T./ Schacht”) and “Holzräume”.
The normal space configuration in the depiction of actual rooms with the customary wall-floor-and-ceiling-construction is being replaced with complex, almost absurd room constitutions with breaches of perspective. And those presuppose the observant reflection of the beholder.
However in some areas of the paintings seemingly organic dalliances in shapes of moss and bark sidle into the images, doubling the shapes almost abstract in appearance with opulently rampant natural cover. This establishes a reference to the earlier work of the artist, where the relationship between architecture and nature still played a more decisive role. In these earlier works Siegel depicted cool manmade rooms in shape of seemingly barren aquaria, in which under water plants sprawled wildly, as if they developed a force of their own in this environment.

The work process of the artist often emanates from small sketches, respectively preparatory drawings, for this purpose she often searches for photographic artwork that only serves as a starting point, that through the process of painting is gradually being replaced from her own imagination.

Christa Burger

(April 2012)

Parquet floor, concrete room and the forest in the aquarium
By Achim Manthey

The exhibition “Lucid Space” shows ten new works of the Munich artist, who’s looking for her path.

A clearing, locked-in a glass case. Sallow light only imperfectly illuminates the dark room with black ceiling, in which the object on the painting “Lichtung” is placed. Another painting shows a forest lake pent-up in an aquarium, that continues into depths, which are barely fathomable. These are mystical and enigmatic scenes, illusionistic spaces that Melanie Siegel retains in her paintings. “Nester” shows two aquaria, in which water plants grow exuberantly, billowing. In front thereof, like in an architectural draft the model of an empty space.

The artist hereby abides by the basic principle of her work, the play with stringently geometric shapes, depth and perspective. This especially becomes explicit in the series “Holzraum”, from which five works are being exhibited. Painted woodwork, that appears like parquet floor hanging on the wall, is minutely executed down to the figure of the laths and the connecting rejointing, as if it were photography. The coloring plays with light and shadow. A tangle of interlacing, wedged together stairs in the painting “Holzraum 4” seem to draw the beholder into a deep nowhere.

Melanie Siegel (34) has a versatile path of life behind her. After the “Abitur” she completes graphical internships at the Bauer-publishing company in Freiburg, at the local metropolitan theatre and at the sculptor workshop of the Südwestfunk. Subsequently she completes her apprenticeship as scene painter and sculptor. Since 2008 she is studying painting at the academy of fine arts in Munich with Karin Kneffel.

The striking quality of her work refers back to her manifold education. An eddying emanates from her paintings, which demand a discerning eye and cognitive beholder. A room of concrete in shades of grey expresses scantiness and coldness. Even by the light incidence that accentuates the corners and angles the room is not brightened. The bleakness that sweeps the beholder along into the world that lies underneath is, if anything, being underlined.

Here a young artist is in on the quest for her path. She purports something for herself yet keeps the backdoor open, to break free from the present form.
If one day she dares to, it could lead to an explosion.

(April 2012)