Annette Schröters creates silhouettes in varying formats. By the by, she draws her subjects first and proceeds to cut them out with a cutter, which in this case seems to qualify them as cut-outs. They range from small sequences, that take on a narrative character when taken as a series, usually in square formats, to large formats that are more reminiscent of abstract painting and only reveal the irritation of narrative elements upon closer examinations… The activity of cutting out in the sense of digital sampling and stamping (as a contemporary image processing technique) is at its peak. Artists are increasingly succumbing to a fasination with technical image patterns that can be so readily repeated and reused… in the silhouette, the importance of handicraft and the acceptance of trash and kitsch as channels of asthetic communication are also illustrated. Annette Schröter has been working for these themes for years and allows them to flow into her pictures… For Annette Schröters painting is a question of colour and pattern – and of the maximum possible strength in paintings presence. Black and white photographs of German folk costumes that Schröter collected at flea markets became an occasion for colourful improvisations, in which the application of the paint and the mark of the paintbrush itself, is imbued with a considerable net weight of its own. Painting is thus more than a mere medium, so that those gazing upon Schröter´s pictures will taken great pleasure in following the strokes, in studying the colour gradations or in comprehending the ornamental development. In this Annette Schröter stands within a painting tradition immortalised by names such as Henry Matisse or Kees van Dongen who enjoyed the privilege of simplicity and a working method which didn’t burden art with false exepectation or impossible goals.