Embodiment and Paper | galerie michaela stock

Christian Bazant-Hegemark
The series Time is Personal (2021–2024) by Christian Bazant-Hegemark explores themes of personal vulnerability and the intricate relationship with time. At its core lies the paradox that time has neither a clear beginning nor a definitive end. This tension—between an unreachable starting point and an inevitable conclusion—highlights the fragility of human existence, constantly shifting between the realms of past and future.
Bazant-Hegemark skillfully captures the uncertainty and ambiguity of this temporal in-between state through his drawings. The meticulous detail in his work enhances the emotional resonance of the moments depicted, conveying the sense that while the past cannot be physically reclaimed, it remains ever-present. Through this, the series becomes a subtle yet powerful reflection on transience and the importance of memory

Patrick Baumüller
Me And The Devil (Walking Side By Side) explores the idea of a second, hidden persona within each individual—the eternal struggle between good and evil. The work plays with the concept of the little devil that suggests the seemingly “bad” choice or tempts one down the “wrong” path. In this diorama, the internal conflict is transformed into an existential theater, where the figure of the devil is realized as an origami-folded object. By blowing air into it, the flat fold becomes a three-dimensional, wearable sculpture. The model figures don this object as a mask, challenging the separation between good and evil and elevating the concept of moral duality to a new, physical dimension.
Dramaqueen examines the intense power of emotions expressed through writing. It evokes the times in our youth when we poured our hearts onto paper—whether in the form of love letters or desperate, sometimes angry messages. Baumüller investigates how emotions, though seemingly controlled within the written word, generate an immense force that infuses the text with energy. This emotional rollercoaster is amplified not only by the content but also by the tactile experience of writing itself: the envelope, the paper, the ink, and the writing tool all shape and enhance the form and impact of the handwritten expression.

Julia Bugram
Spanning mediums such as drawings, paper cutouts, and sculptural approaches, her art engages with themes of social injustice and patriarchal values. A central focus of her practice is reflecting on the conditions under which women can express their individuality, sexuality, and agency. Through her work, Bugram creates a visual discourse that opens up spaces for reimagining new ways of being without entirely rejecting existing structures.
In her series Sexualization & Self-Determination, Bugram exposes the voyeuristic objectification of the female body. She invites viewers to become aware of the mechanisms of power and control that confine women to passivity and disempowerment. Her works challenge audiences to explore deeper layers of perception and bring suppressed voices to the surface. Bugram calls for the transformation of both inner and outer worlds to achieve justice and equality for all.

Ivica Capan
Ivica Capan’s art revolves around the themes of humanity, transport, and movement—both physical and emotional. He reflects on how individuals navigate a digital and technologized world, where images and information are constantly transmitted. Capan questions how this perpetual motion shapes personal identity and examines the dynamic interplay between real and virtual spaces.
Using both digital and traditional art forms, he highlights the fragility of human experience and the potential for transformation within a globally interconnected society. In his works, movement becomes a metaphorical act of transport, symbolizing both alienation and change.

Ingrid Cogne
The Dramaturgy of Conversation How can the context, structure, location, and duration of existing or intentionally created conversational situations support the (re-)articulation of the individuals involved? How can conversations be utilized or actively worked with? How can the parameters of a conversation be interpreted, embodied, and lived? How can a conversation be initiated? In what ways does a situation inherently enable an encounter with knowledge? How can a conversational setting be designed to act as a facilitator in itself?
The Dramaturgy of Conversation seeks to explore various approaches, analyses, and practices of conversation. It critically examines different forms of dialogue and interconnected types of knowledge, viewed from diverse positions and perspectives. The data analyzed in this project stem from private, external, or specifically created archives (both for and within the framework of the project).
Through this work, Ingrid Cogne analyzes, develops, transforms, re-articulates, and restructures how conversations are created, facilitated, and experienced.

Evelyn Loschy
In her series Sandpaper Works – In Between I (2023), Evelyn Loschy uses sandpaper as a central medium to uniquely transform the documentation of movement and falling in her performance. The sandpaper serves not only as a substrate but also as an active element that reveals both the physical and metaphorical traces of wear and erosion. Through the use of a self-constructed apparatus, the performance is translated into marks and imprints, capturing the dynamics and ephemerality of movement while emphasizing its fragility.
The rough texture of the sandpaper acts as a memory, recording the processes of decay and transformation. Rather than merely representing the documentation, Loschy physically inscribes it into the material, translating it into a visual language that is both fragile and powerful. This transformation underscores the vulnerability of the moment while inviting reflection on the inevitability of change, loss, and renewal.

Denise Schellmann
With Metamorphose I, Denise Schellmann explores the cyclical nature of creation and decay. The diptych consists of two framed works, each containing 49 miniature drawings. On the left, she depicts becoming—the development and unfolding that symbolizes both the creative process of drawing and the growth inherent in life itself. On the right, she shifts focus to decay, illustrating the disintegration and dissolution of the same motif.
Schellmann’s artistic practice is deeply influenced by her extensive experience as a natural scientist in cancer research, where she studied the fragile balance between life and death, between cell growth and decay. This scientific insight is intertwined with her personal observations and translated into a delicate yet expressive visual language that defines and enriches her work.

Viktors Svikis
Viktor Svikis’ work Unboxing depicts a woman practicing yoga, symbolically being confined within a box. This portrayal addresses the limitations of individual freedom and the sensation of restriction. Svikis employs a technique that oscillates between graffiti art and the style of the old masters. He works on paper, which he then affixes to canvas, allowing the drawing to transition seamlessly into a painting on canvas.

This distinctive fusion of media and styles enhances the visual and conceptual tension of the piece, merging classical painting with modern, graphic elements to powerful effect