The presence of the production process tells, in the pictures, of the opposing attitudes with which the painter approaches her works. She treats her materials at times with loving care, and then again with merciless cruelty - in particular the painting surface. She dumps thick piles of paint on it, lets the paint splatter as if ricocheting after a heavy impact, she carves and cuts into it, peels it off the protective mounting, spans and ties the painting, and fixes the elements, as if against their will, painterly glued together. Then again, she carefully circumscribes the outlines of individual letters, meticulously imitates the structure of masking tape, spends the greatest care on the drawings of animals, on geometrical shapes nested into one another or the parallel pattern - like flow of coloured lines. What appears to be an accident turns out to be meticulously calculated, what presents itself as sloppy, messed up and forgotten, has in fact a precisely composed function in the interplay with emphatic and carefully located details. Accident and plan are instances that Grahnert plays off against each other in the process of composition and that are eventually preserved in the final version of the painting. 

from von Bismarck, Beatrice. "Precarious Happiness and just because of it." Ed. Schmidt, Hans-Werner. Es ist einfach nicht einfach: Henriette Grahnert. Leipzig: Jütte Messedruck, 2008. 

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