Prof. Barbara Wille

The study of artistic basics provides the prerequisite for the success of the diverse orientation processes at the beginning of artistic studies. Against the background of their personal interests and artistic potential, students find out which artistic strategies and actions correspond to them. They become familiarised with their immediate space of activity, i.e., the academy. They get to know the different study programmes, locations, workshops and special classes and begin to use their potential for themselves.
 
Dresden as a place of study is an expanded action space: the public space, architecture and history, cultural institutions, museums and collections in Dresden are the subject of artistic examination and a projection space for artistic ideas. Social and community spaces are also explored. Exhibiting works of art is a personal statement in the social and day-to-day context. The space of the academy provides a model environment for such communication.
 
The focus is on the artistic process of creation. Interests, motivations, feelings and ideas are transformed into artistic works through action. Trusting the momentum of this transformation process with openness and regarding the unforeseen as a potential is a challenge which arises when commencing studies.
 
The knowledge and experience of perceiving form and proportion, body and space, plane and surface, light, colour, movement, sound and time are shared across media and disciplines. Each work phase has its own quality and can be the subject of reflection. 
 
Lectures, papers, presentations, workshops, studio and museum visits, excursions and research help explore the contemporary art field and establish a connection to one’s own work.

My relationship with space and materiality forms the core of my artistic work.

I am interested in interfaces. Contact points and transitions are important to me. The clearance of a space, which is related to contact points, defines the location of a membrane that mediates between the abstractness of the space and its sensual experience.

I am fascinated by imaging techniques such as editing and inlays, which allow an object to be placed directly into an image. I create sectional views of objects as inlay objects and wall inlays.

Photographic inlay is a method in which a part of the inlaid object comes from the sphere of the image itself. The abstraction of photography merges with the immediate materiality of objects to form a picture.

There are conflicting perceptions at the edges for us to view, but we are willing to sacrifice them for the sake of the photographic view. A trompe l'oeil in photography.

Photographic inlays are what they show: a construct mounted on a white wall.