Siegfried Anzinger

On the Work of Uta Schotten

I have known Uta Schotten since 1997. She was the first student I accepted into my class and the first to receive the Meisterschüler (master student) degree from me.

In our conversations, I immediately noticed her unerring sense of quality and her profound knowledge of European art history. She struck me as someone who knew clearly the direction in which she wanted to develop and was convinced that she could forge her own path. Whenever we discussed the works of other artists, she was able to express her opinions with great nuance.

I got to know her as an open-minded person, with diverse interests and a high level of commitment. She was always interested in a dialogue with other students and their perceptions of painting. She can accept criticism well and use it to her advantage. She was constantly searching for images that reflected what she felt. Furthermore, she dedicates herself to intensive studies of the painting techniques of past masters.

Uta Schotten's primary concern is the image of humanity in our time. Her preferred subjects include mother and child, lovers, portraits of people from her immediate social environment, and, above all, self-portraits. Initially, she used photographs as a basis for her painting. Now, nature is her source of inspiration and serves as her model. Today, she works exclusively from life. The continuous presence of the model and the direct relationship are essential components of her work. She attends life drawing classes to refine the confidence and conciseness of her artistic hand through the rapidly changing poses of the models.

When looking at her paintings, one can literally feel her energy to create something that withstands her questions, doubts, and self-criticism. In the process of painting, she always tries to understand how things are interconnected to find the "right" expression for what she recognizes.

This incessant search has become a core element of her work. Her paintings are never mere assertions; they always pose the question: "Could it be possible like this?"

In confrontation with the object to be painted, she finds a solution using exclusively painterly means. In her work, she relies on her perception and her painterly skill. With this attitude and complete dedication, she strives for that which she perceives to truly appear. Her desire to translate the sensation triggered by the motif is certainly great. I was able to learn from her during her time at the academy.

Uta Schotten's work promises exciting pieces in the future.

In her solo exhibitions following her time at the academy, I have been able to follow her further development and can attest not only to her great perseverance but also to the emergence of her own unmistakable, individual visual language.

To be able to exploit her great potential, Uta Schotten needs time, peace, and financial independence.

This scholarship will enable her to continue her work with the highest level of concentration.

I strongly support the promotion of this artist by the Karl-Schmidt-Rottluff Foundation.

Siegfried Anzinger