Galerie Lauth

Marlis Albrecht was born in Ludwigsburg
and studied at the Free Art School in Stuttgart in 1987/88.
She lives and works in Möglingen near Ludwigsburg.

Marlis Albrecht has experimented with many artistic forms of expression and materials until she discovered beeswax in 1994 as her ideal medium. From that point on, she has worked consistently and almost exclusively with this natural material. Her focus on beeswax enabled her to develop a highly refined and independent warm- and cold-wax technique that has no direct precedent in this form.

Her paintings emerge in dialogue with her material. She melts wax and mixes it with pigments; she pours, trowels, brushes, scratches, scrapes, and collages… constantly searching for new ways to approach beeswax in painting. Thematically, however, she remains concentrated on her two fields of interest—the forest and people. She does not aim to create likenesses but instead pursues the soulful, the layered, and the profound.

For Marlis Albrecht, wax is less a material than a bearer of meaning.

For Hermann Reimer, it is all about capturing mood—about light and shadow, about the air between painter and object. This fascination draws him into nature, where he creates atmospherically charged paintings directly in front of his subject. He is not interested in spectacular landscapes, but in quiet, inconspicuous places and fragments—such as a hidden clearing in the forest.

Reimer focuses on only a few motifs, which he commits to the canvas with a pastose application of paint. Recently, he has begun to work in a strikingly large format of 2 by 1 meters, remarkable for such intimate subjects. We look forward to sharing our enthusiasm with you!

Reimer was a master student of Klaus Fußmann at the Berlin University of the Arts. Born in 1959, the artist lives and works in Berlin.

Kristina Weiss, a master of artistic multiplicity, moves between music, literature, and the visual arts. She experiments with oil paint and paper art, allowing controlled chance to create beauty out of chaos. Her style is defined by abstraction and the poetic unrealization of natural and acoustic phenomena. Weiss conveys the transience of moments, opens spaces for association, and invites viewers to make their own discoveries.

Kristina Weiss is not concerned with depicting scenes, objects, or people; her art is less than half-concrete and can only be truly accessed on an emotional level. The key lies in the fact that, to create something that appears simple and sensual at first glance, she employs many—and varied—materials: she works with paper and linen, with acrylics and pigments, and she also experiments with wax. With only very few exceptions, she works almost exclusively in black and white, reinforcing the impression of reduction—while the multilayered nature of her work ensures that viewers discover something new each time they look. As gallerist Werner Lauth, whose workspace has been surrounded by Weiss’s works since last week, affirms. — Nicole Sperk

Kristina Weiss was born in Berlin, where she also completed her artistic and academic studies.
Her early artistic interest lay in music and in understanding how it is “made,” while the visual arts—always present through an ancestor who worked professionally as a painter—initially did not extend beyond a solid technical level. This changed when she moved from drawing to painting and began to transfer compositional principles from music to visual art—at first playfully, then with increasing seriousness.

Ultimately, in her twenties, Kristina chose to pursue a path in the visual arts, not least because of the physical component inherent in painting, which pleasantly complements the intellectual aspect.

Nevertheless, her internal point of reference remains rooted in musical analysis and an aesthetic shaped by music. This movement between art forms—this ambivalence and the feeling of never fully belonging—is, in the end, a defining element of Kristina’s artistic identity.

Born in 1938 in Velbert, Klaus Fußmann is among the great painters of our time and is considered the most important contemporary German painter of landscapes and flowers. His works can be found in numerous museums and collections worldwide, and he has held countless exhibitions in Germany and abroad—including at the Neue Nationalgalerie in Berlin, the Mathildenhöhe in Darmstadt, and the Museum of Modern Art in Frankfurt, to name just a few. He was a professor at the Berlin University of the Arts and has shaped the artistic style of many of his students.

His handling of form and color, his pastose application of paint, and his keen sense of composition define his painterly style. His works occupy a space at the intersection of abstraction and figuration. Particularly striking are his expressively planar, color-intense oil paintings, whose density and compositional structure are masterfully staged. The thick layers of paint and strong contrasts create a spatial experience that captivates the viewer.

Klaus Fußmann lives and works in Gelting on the Baltic Sea and in Berlin.

Born in 1962 in Spain

1985: Diploma from the Academy of Fine Arts in Barcelona (specializing in sculpture)

Teresa Riba works primarily in bronze. With the possibilities offered by this material, she succeeds in giving her sculptures extraordinary expressiveness. The vitality and sense of movement in her works arise from the irregular surface texture and the patina of the material.

As a gallery, we are very pleased to have collaborated for many years with the renowned sculptor Teresa Riba. We greatly value her artistic sensitivity and expressive power—especially as she took on the outstanding and symbolic task of creating the four angels for the new Chapel of the Ascension in the Sagrada Família. This significant work is not only a highlight of her artistic career but also an impressive example of how contemporary art can enter into a dialogue with Gaudí’s visionary architecture.

A new space in the Sagrada Família: the Chapel of the Ascension.

Original works of classical modernism are also on view—a pencil drawing by Erich Heckel and an ink drawing by Ernst Ludwig Kirchner, creating a bridge to the gallery’s contemporary artists.