“The paintings function as fragments. Many look like tightly cropped details of a far more expansive constellation. The objects are positioned in such a way that no further change is conceivable. They are distinguished by immobility, oppressive silence, impermeability (even if a stage-like space is depicted) and distance (however close a thing might be). Their cohesion is brought about by pressure generated with the means of painting and further heightened by theatrical set pieces of Baroque pathos. They do not come together of their own accord; their affiliation, rather, is imposed upon them from the outside and after the fact. Yet however irreversible this affiliation might appear, it nevertheless remains precarious. The three-dimensionally painted hand of a child rests on a completely flat patch of colour to be read as a human back; the projection of a black-and-white picture on the wall collides with a vividly red billowing bedspread; the lights of a Christmas tree, glowing feebly in the dark, defy reconciliation with the brightly illuminated back of a sofa. Mutually distinguished from one another, the objects provide occasion for the introduction of contours, cuts and sharp edges that slice through every scene.”
*Excerpt from the press release written by Ulrich Loock for Incident, Maria Polyzoidou, solo show 2016 at Reisebürogalerie Diko Reisen, Nagel/Draxler Galerie, Köln, Germany.