Undaunted, she showed bitterness wrapped in sweetness.
The new works on paper by Marion Fink

A young artist, from the Allgäu region, arrived in Potsdam about half a year ago via stations in Stockholm (education, exhibitions), Hamburg (education) and Berlin (stopover), where she took up residence and studio and immediately set to work, so that she could soon have a larger show with newly created works. The title of the exhibition - though succinct - is only apparently little eloquent. He does without anything booming or playful and remains strict about it. Today, "works" generally stands for "works". But the latter already sounds far more gravitational, and that's not the way it should be. More specific in the sense of the (re-)presented genres would be "painting, drawing, and sculpture," but that in turn would possess the skingout of the academic. "Pictures and Objects" could have been another alternative, but would also not have been sober enough and thus powerful in the sense of an understatement.Titles are not trivial, says Gotthold Ephraim Lessing, and it goes without saying that they should be chosen carefully. In any case, "new works" can be understood quite simply and objectively as a double reference, on the one hand to the fact that art, as Karl Valentin already knew, is beautiful, but also requires a lot of work, and on the other hand to the fact that all the works shown were only created in the past months (and on site). Implicit in this is, of course, the fact that older works precede them, and that this is by no means the very first exhibition of the artist. This can also be quickly confirmed with regard to the Curriculum vitae. There group and individual shows in Sweden, Finland and Poland are listed. But in Potsdam the first extensive exhibition in Germany is now being shown with "New Works". And when one learns that the Finksche Atelier is not far away from the Neue Palais in Sanssouci Park, the attribute "new" almost also gets a topographical note.But in the end it's not about Heimatkunst. On the contrary. The questions that Marion Fink's work encircles have nothing to do with any kind of tumult. It is about sounding out and depicting a relationship to one's (own) world that always remains questionable. This does not go hand in hand with selfishness or vanity, but stems from the fact that the artist, starting from her experiences, takes a look at herself and the state of the earth and tries to capture both perspectives connected with each other in her pictures. It is always about a statement by which the viewer is urged to understand the offers for 'problem solving' - visually achieved through poetic irritation and uncertainty. As Peter Sloterdijk reads, art, like thinking, always lives in self-experimentation. The panorama opened by Marion Fink takes place in a kind of social theatre. Here, mostly lonely figures appear, enclosed in today's interiors, bored, melancholic or thoughtful, sometimes with empty glances, often surrounded by objects that can be understood as a kind of toy and serve as attributes for closer but diffuse identification. Many of the figures have their age in common with the artist, for it is not least a matter of their own generation, which seems lost here and there (or in search of something). There is no certainty.Prof. Dr. Michael Diers (excerpt from the catalogue article)