Practically speaking, Lotte’s paintings begin with her ‘wild lino’ technique: face down, making contact with an inked up indigo surface, she scrawls invisibly upon the back of the new canvas spread out on the floor. This initial contact, these frenetic, rhythmic scratches, pick up pigmented lines (and existing creases) on the frontside of the canvas, creating a visual matrix to work from before the frames stand stretched and upright. With scuffs and creases integrated into the picture frame, the imprints defy the notion of an originary mark. As well as being entirely new compilations the paintings are full of mental-retinal residues: streaks of bright light land from the adjacent vertical window, drop-shadow-blues hang under patches of sunset-peaches and pulses of electronica transmit rhythmic lines to the surface; every painterly gesture drawn in from the surrounding space and energy. Music and the body play an important role in the paintings’ development. Lotte sustains the energy needed to work on surfaces of this scale by listening to long DJ sets. She moves around the space and rotates the canvases regularly. Against the raw canvas base the colours hover in vibrating tones. The abstract works feel optimistic, transitional, full of potential. There is this sense that she is reaching for a ‘beyond’, orbiting the studio with abstract thoughts that might be of this world but are not bound by it. Painting, here, is both a practice of bodily presence and an experiment in how to bind terrestrial with celestial movements. Words by Anastasia Shin