Louise Fritsch's artistic approach: The human body is painted through flow, flood and impulse, the comings and goings between darkness and light, passing through anamorphoses and metamorphoses, with nods to the genius of the Renaissance, the Baroque style and contemporaneity.
Between weightlessness and sensuality, constraints and freedom, the human and animal worlds, she has played/tinkered with opposites and instability in order to express an impetus and to seek one's own boundaries. One line may conceal another, appear, disappear, make the invisible… visible. She has tried for some years to create large scale anamorphoses and optical illusions for the architectural space. The effect of the anamorphosis accentuates the illusion of movement for the viewer who, when coming and going through the space, sees the artwork changing going from a figurative representation to abstraction.
The visual impact of the artwork is amplified and stretched through the use of linear perspective. She sees it like the sound of a note that lingers on at the end of a concert before it dies away. The actual shape of the unaltered piece can be seen if one views it from a specific angle. The works can be made on materials such as walls, posts, windows, floors, ceilings, mirrors and more.