Anastasia Pavlou understands her artistic work as one that can be perceived as context-related in installed form in exhibitions, thus enabling her to create an expanded aesthetic space of experience. Pavlou’s paintings, which take their cues from Art Informel, are both tightly organized and remarkable for the transparency and expansiveness of their pictorial space. They come across as works that were created spontaneously but developed slowly. Her autonomous, small-format drawings, meanwhile, are a form of figurative, inspired visual thinking. We encounter them again, scaled up, on canvases in her exhibitions. Pavlou favours a perception of works of art that the British philosopher Richard Wollheim in 1980 described as a “seeing-in” as opposed to the representational seeing, or “seeing-as,” that in contemporary art has since become the norm. “Seeing-in,” unlike the more direct “seeing-as,” “permits unlimited, simultaneous attention to what is seen and to the features of the medium,” writes Wollheim. It is this material aspect of art to which the artist, in her current works, directs our attention. 

Since its founding, the Amden Atelier has been a place of artistic experimentation, which being far removed from classical museum conditions lends itself to the development and exhibition of new kinds of artwork. Some of the artists who have exhibited there, many of them at the start of their careers, created works for their exhibition in Amden that were to have a defining impact on their artistic development thereafter.