Ariadni Vitastali’s works are resolutely “thrown down” drawings and sensations at the same time. Her handling of oil sticks and brushes is fast, hard, colorful, unconscious, voluntary, violent, unleashed. Her tools.

Looking at her drawings, the viewer has sensory experiences.  Colors – like those of luminosity and transparency at the same time – like the color of the moon, shimmering against the colorful bird feathers. Shapes – like angularity, but also lightness. Lines – like speed that breaks through timelessly – like the causal space that sets itself apart from its two-dimensional starting point.

These are supposed to be the prerequisites for drawings? Possibly of drawings of flowers? Immediately – yes.

The subject of flowers has been a constant theme in the history of art. There is an unbroken interest to this day. Arcimboldo, Davidszoon, Wahrhol, Kelly, Anguissola, Benoist, Cassat, O’Keeffe, Höch – all serve as examples here to illustrate the broad scope of the subject. What all the artists have in common is that their works convey images of the world.

Ariadni Vitastali’s catalog raises questions about this. Are they flowers or are they just the occasion for drawing? To what extent do her flowers liberate themselves from the naturalistic?

Her drawings refer to the current art historical discourse. World views are no longer clearly designed today. Our world views no longer have any claim to truth. Today they are suggestions, but not stable buildings.

She explores the space of the paper. She measures the possible relationships of the drawing ground with the length of her strokes and her style. At times rough and sketchy, brutal but decisive, but equally sensitive and delicate, she reveals her concept of drawing to us.

Flowers/Epilogue” serves as an umbrella term for one of her folders. Yes, I think the drawings come from flowers, but artistically they form an epilogue in which the universal loses its value. It must be decided by everyone personally. In the process, viewers will discover that Ariadni Vitastali’s drawings allow her to join the ranks of the above-mentioned artists, but without any claim to truth. Her work no longer requires this.

Through her painting style, also embedded in the context of the contemporary, we can establish references.

Baselitz’s paintings, not his drawings, are characterized by decisively placed brushstrokes. If we look at Ariadni Vitastali’s colorful lines in her drawings, we find a comparable brutality and quality. The oil stick is applied hard and repeatedly to the drawings surface. So violently that the paint leaves the flat ground of the two-dimensional, piles up into the space and becomes three-dimensional. It is her hand, her joint, shoulder and back, supporting and positioning her legs to apply exactly the necessary force to realize these drawings.

Ariadni Vitastali’s works have a poetic and lyrical appearance. She models a sensitively balanced space (grid structure) in whose fabric the concepts seem to float.

Basic musical structures become audible. In places a delicate color tone, elsewhere in the surface a form is emphasized. Personally, I was reminded of Eric Satie, the French composer. The “Gymnopédies” are among my favorites. At any rate, I sense this transported in her drawings. Only here I am addressing you, dear reader: “Feel which means of transportation suits you.” There are no longer any fixed truths.

Another aspect of her drawing vocabulary are her letters. Letters – yes. Words – Yes. Connections to literature – Absolutely. The subjective capacity for speculative fabulation is activated. She is thus connected to Twombly and Basquiat.

Twombly opens a lyrical reference for us. A strongly European one. “Vergil” as an example that can only lead to a firework of speculations and references. His use of the pen is sensitive and delicate.

Basquiat, on the other hand, follows an American impulse. Music is also important to him. The words, coarse, expressive and generously brought onto the canvas, depict the 1980`s. His work “ALI” is an example of this. A round shape, boards and black paint form the background. The word “ALI” makes more than a political statement.

Ariadni Vitastali opens the door to a new path for us with her drawings. In a sensitive way she emulsifies both positions and thereby forms her own. Words and letters form a second independent language in Ariadni Vitastali’s world of drawing. They are allowed to be logic but deny their claim to certainty. The draughtswoman cuts, abbreviates, erases and covers up content. Messages that could give us viewers stability are not clearly stated.  But they are not withdrawn either. They are incomplete for us to see and subjectively to recognize.

The history of the written word is omnipotently present. However, on paper they obey the visual world. Ariadni Vitastali’s letters lose their objective expression and sway with the subjective sense of words. These word seedlings leave us touched without becoming grounded seedlings.

It is up to us and within us to plant these seedlings.