Concerning the exhibition - Eva-Maria Manner

... Ad hoc, the viewer recognizes the drop shape in the former works, believes that the soft crackling of the rain can be heard. If he risks a further glance, he discovers, under the known drop forms, structures turned upwards by 180 degrees, with the pointed shape facing downwards, which project in a balloon-like manner.
Different feelings and constellations interact. If they appear to be delicate, aesthetic forms, the perception of these living structures is much more subtle. Previously encrypted messages become obvious to the viewer. A single drop of appeal is sent to a social disposition - without acting as a scream, can occur harmoniously, but also in an upbeat and social-critical manner. Almost everywhere there is coexistence, rarely single, individual, underlining their supposedly singular appearance by a considerable distance.
Accordingly, the artist sees her image-immortal intention - I quote - "as a metaphor for the possibility of a common existence". Despite all the individual differences, the drops resemble each other in their essence in many areas. Important to Ekaterina Fischnaller is the transparency of the individual drops, which transcend into each other and, with all their peculiarity, result in a large whole.
How did the artist actually find the drops? Imagine the following scenario: Flooding in Sarmingstein, the roads blocked off, the view to the Danube is denied the artist by the mist largely, rainfall perfects the unreal mood. Ekaterina Fischnaller enjoys the sight of the misty, almost deserted landscape - as held in her photos; She likes the rain, exhorts her formal garb and raises the drop to the protagonist of her visual language.
It is fascinating that the drop takes only a short time before its removal from a body its typical typical shape. This very short moment is fixed by Ekaterina Fischnaller, and thus describes the entity and for itself. This is the reason why, among other things, the heraldry of drop form has been used.
It often stands as a symbol for dreams, blood, gold, oil, tar and water drops and promises fertility and new life.
Their calm drops, following in more or less clear trajectories, or lively, or those of a secure gold-base, are countered by those who are injured by shotgun bombardment. They are to be read as a clear rejection of the obsolete war slaughter and as a pacifist artistic statement. These works, titled "No a la guerra!", could not be more timely. They attack the omnipresent violence that destroys the beauty, happiness and naturalness of human society.
Personally, I understand Ekaterina Fischnaller's dripping as a painstakingly painted poetry that addresses the world and expresses the desire for individualized harmony.

Eva-Maria Manner, Cultural Dept County of Upper Austria, in her speech at the opening of the exhibition in Hofkabinett 2015