Untitled (King Buffalo) Painting

The Berlin painter responds to the empty canvas and the abundance of possibilities that come with it by initially ignoring the question of the subject of the painting. Although she develops a form, the subject is not the occasion, but rather a possibility for painting. What is referred to has no purpose and is based on the boundaries and divisions inherent in the canvas. From this basic grid, a form develops that is already contained in the canvas, similar to the sculpture already hidden in the sculptor's stone. Ucinski deals with transitions, edges and the interaction of forms with each other as well as between form and background. The background is processed with just as much attention as the subject and sometimes appears alongside it without hierarchy, sometimes pushing forward, becoming a form itself. In many of her paintings the surrounding space does not appear as an airy space, but as solid, thus competing with the form. We usually perceive matter as solid and space as atmospheric. Ucinski reverses this relationship in her paintings. The reaction of the paint with the canvas is essential in Ucinski's painting. The tissue is not a carrier with a sealed surface but a reacting body which absorbs the paint and lets it seep through. Accordingly, she often applies the first coats of paint before priming. Sometimes she flips the canvas so that the back side becomes the front side of the painting. The translucent paint can only be seen indirectly and transcends the categories of “front” and “back”.