Anna Maria Schönrock

Anna Maria's works appear restrained at first glance. They all show the aesthetic research of the artist after a picture. They strongly thematize beyond the content statements, the aspect of surface, form and colour. However, all classical genres of painting can be found in the art work of the painter. Singular objects that allow the eye to concentrate and, despite the representation of a plastic object, always confront it with the flatness of the image carrier. In the reduction of the motivic is on the one hand the self-chosen limiting discipline by the artist, which on the other hand leads to a great receptive openness. The viewer can, may and should make his own picture based on the artistic work. Fine are here the nuances of the fluctuation between representational and abstract painting. Vases and vessels may only show their outlines and surface and remain recognizable by their contour lines. They are robbed of their plasticity by artist's hand painterly.

Pictorial space and motif are carefully and seriously explored and defined in their constituent parts. Spaces become foreground and background, motifs become patterns. Anna Maria Schönrock's artistic will makes use of a form, not vice versa. She uses objects not for the sake of their content, but primarily for the sake of their form. [...]
Despite the often still recognizable motifs, Anna Maria Schönrock's art is a thoroughly contemporary one. This begins with the work process and shows itself in an impressive way in one of the most traditional genres of painting: the depiction of the human face. [...] Her images of people are de-individualized, which can already be seen in the title: HUMAN she simply names these works and numbers them pragmatically. We encounter neatly coiffed and dressed people in these paintings. The surface of the face remains free. However, it is not empty. It is filled with delicately iridescent rainbows or nightly sparkling stardust. What dignified respect for the individual the artist shows here. No presumption to want to fathom or explore the counterpart, but instead of a manifest physiognomy to allow him the great yearning freedom of a rainbow, which presumably everyone carries in himself.

Each of her pictures radiates this noble attitude full of respect towards the subject. Anna Maria does not judge, she approaches, she leaves open and free, she offers the viewer something of which one does not know whether it will be permanent or perhaps only something fleeting. [...]Through Anna Maria Schönrock's artistic view we are allowed to widen our gaze, we are allowed to consider possibilities, we are allowed to enter wafting terrain, we are allowed to look through fences, we are allowed to push open the cage doors from limiting circumstances, we are allowed to feel free. - Dr. Teresa Bischoff