Through different colors and application techniques of paint with also partly unconventional tools, colorful surfaces, lines, and other loose forms are put together as compositions. Rahel Sorg’s diverse abstract, partially gesturally expressive paintings, carried by sprayed or painted pictorial elements, emerge from different, mutually dependent production steps. Even if thereby coincidence is given little space, the moment of unpredictability plays an important role in the sense of the unforeseeable, unexpected. Such moments emerge, for example, when the spray can is utilized as a painting tool and the lacking distance of the artist to the canvas, enables her to be more independent, and to capture speed and movement. Or, also, when canvases are turned around without further ado during the painting process.

The large scale paintings develop over many weeks or months, some are only finished after years. Additional layers in the paintings result from painting over, in which one can retrace the fight of the artist for the moment in which every pictorial element finds its place. Thus, appropriately, Lina Louisa Krämer accurately describes her method as „Zerreißprobe“ (crucial test). The tension, that is inherent in Rahel Sorg’s paintings, also stems from her expressive paintings suggesting a spontaneous and intuitive working method. In reality though, they distinguish themselves through a very reflected approach.

But Rahel Sorg’s paintings are not only about purely aesthetic expectations. Letters and numbers, lines and signs, reappearing in her works again and again, allow us to reminisce graffiti signatures or writing. The mix of abstraction and subcultural motifs, makes up Rahel Sorg’s distinctive style. Furthermore, it distinguishes itself through sometimes fixing the canvas directly to the wall without stretcher frames or even painting or spraying pictures directly on the wall. It is not only about constantly questioning just one’s own work, but also about undermining common ways of seeing.

Rahel Sorg’s pictorial compositions do not offer an unequivocal interpretation. Far more, they create the space to be engaged and invite the viewer to think along.