Christiane Fuchs, perhaps the most sensitive and cautious representative of watercolour painting in this exhibition, explores the picture surface as though it were a minefield. Whereas in her oil paintings the colour makes its appearance boldly, her watercolours are more like hesitant actors as they venture onto the paper. They tiptoe onto the stage on which they are to perform, hardly daring to touch it with their feet, and grope their way like mime artists through the curtain that is the picture. Where the colours appear as a group they still try to remain separate from each other- and generally abandon the greater part of the stage-set to emptiness. But just as in Samuel Beckett´s play Waiting for Godot the absence of Godot allows the two secondary figures, Estragon and Vladimir, to become principal protagonists , so the colours in Christiane Fuchs´s works are able to acquire an existential significance-using “existential”, once again, in a wholly materialistic rather than a psychological sense: were it not for their restraint, their sometimes laconic, sometimes almost triumphant self-assertion vis-à-vis the whiteness of the paper, the paper could not make an appearance at all, it would be insignificant, lacking in any attraction, and ultimately non-existent. Here Fuchs is at a threshold: the point at which, in the viewer´s perception, a picture-precisely because of its modest appearance-takes on a dramatic quality in every single brushstroke. – Roland Scotti