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2003 Homburg/Main


80 x 220 cm, scooped at the paper mill with Johannes Follmer

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2013 food


Watermarks in counterlight

Begriffe gegen Licht


The series light-watermarks was scooped with Natan Kaaren in his paper workshop in Kibbutz Sde Yoav in the Northern Negev in Israel - from movable embroidered watermark-sieves. Measurements after drying 132 x 108 cm. Natan’s mastery is based on the Japanese technique of hanging mould and frame from the ceiling with springs in order to catch the weight of 75 litres and support the balance during the shake. The Shake is the sideways movement to interlock the fibres while they are still suspended in the pulp.  The watermarks only become visible after pressing and drying.

The cycle Lichtzeichen is exclusively represented by the Haus des Papiers. For enquiries see Contact.

 "Barbara Beisinghoff gives shape to the beauty of light, captured with water and enclosed in plant fibres. Light here becomes the source of purest poetry." 
Christian Scheffler, Offenbach


 "It was grace which I and Christa felt immediately with Barbara Beisinghoff, when she came towards us with her works, dedicated to us, in the late autumn of 2009, when we were able to provide her with an exhibition in the limited space of our gallery ‘Forum Amalienpark' in Berlin Pankow. It was Christa Wolf’s ‘Kassandra’, which she quoted and perceived again: ‘we crossed the border beyond which language stops’, in order to contradict Christa Wolf’s sentence, ‘I have only not coloured words’, in her own way by making them visible in colour and relief prints. Scooped words, which she found for the clairvoyant and gave space to, which they had not had before: ‘I saw colours’. She had adapted the texts and translated language into colour for us."  Gerhard Wolf, Berlin

Most of the light watermark sentences are from Christa Wolf‘s novel Cassandra. 


“Barbara Beisinghoff interweaves and explores the paper. The huge sheets present themselves in sequences, which fill spaces and unlock them for the discovery of their compositions and vibrations. If one reads the duality of the work, its core on sheets and piercing through them and their place in space on the other hand, the bodily-spiritual personality of the artist becomes visible. Her artistic work reminds us of the ancient figment of the Zodiac, which was concerned with condensing the inner and outer in the human being. Barbara Beisinghoff disperses relics of memory onto the expanse of her pictures, mapping what she feels inside. She steps with her whole being between the order of her own personality and that of the space. What she does has the effect of a catalyst or of an oscillograph, which registers events of time and space. Her works can be read as expressions of a navigation instrument, which she herself is, which she uses, scoops up and, therefore, keeps going, continuously widening its radius.”

Stefan Soltek, Offenbach