Harriet Groß is a draftswoman. Using the line as a starting point, she examines boundaries as thresholds, which she expands into spaces of possibility.

In her new works for the exhibition Collapsing Orders, she once again focusses on the concept of disruption: the disruption of orders that are faltering all around us to the point of breaking. The crack remains visible, but Groß would like to counteract a hardening of emotions, such as driven by hatred, with mental flexibility, away from the consequences of emerging social polarization and black-and-white thinking.

Her lenticular prints from the “Fratzen” series were created as a reaction to the massacre and atrocities of the wars. Grimaces of dehumanization, developed from photographs of her work group “Interferences”, are superimposed on breaking surface grids.

Depending on the viewer's point of view, different legible images emerge from the gray tones. Like a glitch, this describes our feeling of no longer being able to find our grounding. The monier grids of the spatial drawing can follow their original purpose and serve as stabilization, protection; But they can also represent rigid orders and exclusion, depending on the viewer's interpretation.

How can chaos and order be brought back into balance when everything is in flux? Both are only conceivable with the concept of the Other. Of great interest are the nuances that can become visible through disturbances; a mental oscillation, an acceptance of each other, the ability to let things stand for themselves in reflection. This would be “being in the flow” in a positive way, in the spirit of Michel Serre.