GALERIE SUPPER is specialized in contemporary art.

At first, the paper works with their emphasis on expansive surfaces and hard contours form a strong contrast to the delicate and permeable thread works. In the course of the ongoing process, however, these closed surfaces gradually dissolve, oscillating between revealing and concealing, forming filigree structures and maturing into curved, almost soft silhouettes. The artist draws on the diversity and versatility of paper as a material: from smooth to textured, from colorful to monochrome. Most of the papers she uses are hand-painted and spray-painted by the artist herself, and also printed using various techniques before being cut apart and reassembled into a new visual whole. Through the predominant use of her own hand-painted elements, the artist explores the painterly quality of paper collage in contrast to the direct application of paint onto the pictorial support.

In Monika Thiele’s work, paper stands for load-bearing capacity. Drawing boards serve as her pictorial supports; however, she does not understand paper merely as a carrier material in the sense of a passive surface. Rather, she views it primarily as a supporting material that transports color and form into pictorial space and thus itself becomes a bearer of meaningful narratives. Sound, depth, form, and resonance are essential principles that run through Monika Thiele’s artistic language. While working with paper may appear as a rupture in relation to working with thread, it ultimately marks a return to the core of her practice—a multiplicity and layered complexity in an artistic-poetic sense.

The artist’s working process is time-intensive. Many hours of iterating, rearranging, and reevaluating each individual paper fragment pass before the final composition is achieved. In Monika Thiele’s practice, paper collage is therefore also a physical gesture, as the pictorial space becomes increasingly condensed through the application of layer upon layer.

Monika Thiele develops the art-historical motif of the moonlit landscape as a place of longing into a landscape of the soul—a projection surface for emotions. No other element embodies such an immanently irregular state between order and chaos as water: it shifts between contour and indeterminacy, between surface and depth, between stillness and roar, between permanence and restlessness, between form and feeling.

In Monika Thiele’s works, the focus is always on a poetic-artistic engagement with these transitions. With and through paper fragments, she stages boundary crossings, provokes encounters, reveals a state of in-between, and offers impulses toward transparency, flow, and reflection.