Pauline Rintsch
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Pauline Rintsch (b. 1995, Germany) lives and works in Düsseldorf, Germany. She received her Meisterschüler diploma from Prof. Tomma Abts at the Kunstakademie Düsseldorf in 2023.
Rintsch is a recipient of a scholarship from the Studienstiftung des deutschen Volkes (German Academic Scholarship Foundation) for 2019-2023. She has had solo exhibitions at Fiebach, Minninger and La Felce in Cologne and YveYANG Gallery in New York.
Artworks
CV
Solo Exhibitions
2024
Mutual Sentiments, Fiebach, Minninger, Cologne
Pinch Me Hard and Soft, YveYANG Gallery, New York
Schmetterlingskuss (Butterfly Kiss), La Felce, Cologne
Group Exhibitions
2023
I have a garden full of flowers & I keep them alive, Definition of Done, Cologne
group 23, Fiebach, Minninger, Cologne
There’s only one, Golestani Gallery, Duesseldorf
2019
Secret Sundays, Bruch & Dallas, Cologne
Artist Interview
What is your studio environment like?
My studio is in my home. I work in a one bedroom apartment, but it’s quite spacious and I like the privacy and independence of working from home, especially since I often paint at night. This setting gives me a sense of intimacy and security while I work. Usually I collect ideas and take little notes wherever I am, later in my studio I will transfer them into quick drawings and based on the drawings I will start a painting. It can sometimes just be a word or sentence that I find odd or inspiring or a moment which seems insignificant at first but somehow catches my eye and becomes significant for me through the process of painting. My work often depicts fragments of how I perceive my surroundings.
Could you briefly discuss the stories behind the creation of this body of work?
This body of work was created recently, at the end of 2023 and into 2024. Three of the paintings feature close friends and family members. In Alissa Playing with Fire, I captured a moment when my friend jokingly tried to eat a burning match. I wanted to highlight the reflection of the flame in her eyes and the interplay of shadow and light across her face.
Another painting, Vivien, depicts a friend walking in the rain and glancing over her shoulder with a surprised expression, as if someone is reaching out to protect her from the rain. The ceramic work shows a gesture of intimacy, a fragmented scene of hands touching and massaging a head.
In drawing a line, a person with her face close to a mirror is applying eyeliner in bright blue. I like to depict the moments of getting ready, bathing or putting makeup on, acts of tenderness and care towards oneself.
The title spring awakening is borrowed from a German novella from 1891 which depicts the sexual curiosity of young people and their struggles living in a society characterized by rigid moral values and prudishness. For my painting I took the title quite literally, a person lying in a blooming and bright green meadow, revealing her legs towards the warmth of the sun.
The next painting is a random portrait of a person holding her hands around her face in order to frame her view.
spring awakening, 2024, Oil on paper by Pauline Rintsch
Providing (Helene+Amaia) is a portrait of my sister and her daughter. It shows a gesture of love and caring, feeding her child water, as it has outgrown her milk. Their mouths appear to be connected through the water bottle. The gesture reminds me of a mother bird nurturing her baby, feeding her mouth to mouth.
providing (Helene + Amaia), 2024, Oil on paper