The surfaces of her works consist of planes thrusting apart from each other, while their three-dimensional quality is dispersed by the ends running out at acute angles. In this way the artist is able to evoke the remoteness of utopian space. Katja Strunz’s reliefs take up the crystalline folded sculptures of the Minimalists and the Land Art sculptor Robert Smithson from the early 60s, while at the same time retaining a very European dimension: "I am concerned with the difference between past and present, the discontinuous effect and the construction of the past in the present."
The best avoided gallery text informs the ‘reader’ of Berlin-based Katja Strunz’ work that her sculptures and prints should be understood as ‘room language’ or ‘neologistic sentences’…