Ricarda Peters

Ricarda Peters obtained her first artistical imprint from her paternal house: Her father was a conductor, her mother a professional ballet dancer. Since her childhood, the laws of music, of melody, of rhythm, and movement have seemed to run through her veins, enabling her to acquire spontaneously this fund of experience that helped her moving to the field of the informal art. Her paintings seem to follow a musical (breathing) rhythm, in a synthesis of architectural stability as well as choreographical levity. These fundamental values are matched by her choice of the dominant colours out of the major modes: Red, blue, and yellow, occasionally mixed with the tonality of green and brown. Her brush-stroke’s spontaneity hints at a kind of painting exuberant with life. During her period of studying in Venice, at close quarters with Emilio Vedova, whom the artist had met in the 60s in Salzburg, where she frequented his master class at the “Sommerakademie”, she became his assistent, establishing with her master a contact and exchange of ideas which has lasted until today because of its inseparable spiritual affinity. In a sort of somnambulism, Ricarda Peters ventures to present, with appropriate choices, courageous forms and colours, as well as with respect to essential artistical thoroughness, as in the parietal decorations of the Foyer of the Konzerthaus Eltzer Hof of Mainz, commissioned to the still young artist: A painting of great dimensions, in which is finely articolated the contrast of red and blue. In Ricarda Peters there is an evident introspective analysis, a serene search for the meaning of life, not only in her paintings but also in her drawings; and it is with determination that she finally has reached legitimacy as a painter. In 1968 she created “Genesis” and in 1970/1972 “Genetic Cicle”, which in 1991 met noteworthy interest among the participants of the International Meeting for pre-natal and perinatal research, in Heidelberg. The contrast of her delicately modelled drawings and the spontaneity of her pictorial works is surprising, and yet the one is unthinkable without the other. Creative vigour and willpower create a profound sensitivity in Ricarda Peters. Her artistical course can seem uncertain at times, solitary, impassable, but only for short periods; she thus proceeds decisively in the direction of informal painting, subsequently since the encounter with her “Maestro”. And yet, like Vedova, also Ricarda Peters is stirred by stern architectural drawings. She is particularly attracted by the structures of the Baroque and by their spatial relations. These experiences coming to maturity in her, have taken form later in her chromatic installations which radiate vibrations sensorially acknowledgeable. In her more recent works, structures en plain aire, the rhythm resumes chantedly in a way that the artist unveils in this world in decomposition what opens up difficult prospects. The reached final stadium of our products of consumption, the “trash” seems to open new horizons to the German artist’s imagination and creativity, providing a life of new forms and unusual structures. Ricarda Peters is in pursuit of the cosmic God who, beyond any form of worship, reconciles nature and the human being.

Christa Moehring 

Green Monument Foto 2007
Ikon 1 Foto 2005

  Trash-Art-Series : Video "WIND AND MATTER".

The Trash-Art-Series has nothing to do with social criticism, neither is it a protest against consumerism. It originates on a different plane, more to the tune of : "And that whch keeps the world together in its innermost" (Goethe, Faust part one) . These Trash-Art images - pictures of refuse randomely piled up in tiers - appear to me to show a remarkable order. Out of these images il appears that structures evolve, a process akin to nature. Structures which divide and splitt again into smaller and smaller units. They obviously follow a set of pattern, a phenomenon which is also found in informal painting. In mathematics a whole scientific area - the chaos theory – deals with discerning patterns and structures in the supposed chaos of our environment. In defining structures which relate to themselves, mathematics create worlds in which they virtually probe deeper like with a magnifying - glas, finding there the same structures and patterns.

Ricarda Peters

 The installation “Wind and Matter” Video DVD, 18 min. – Totem Pole, painting has been sponsored by the Hessisches Ministerium für Wissenschaft und Kunst and the Kulturamt der Landeshauptstadt Wiesbaden. It is part of the project “Dètournement Venise” 2009 as collateral event of the 53rd international exhibition of art at the Biennale of Venice. In cooperation with the Association Italo-Tedesca onlus, director and curator Dr. N. Pizzul-Capello, at Palazzo Albrizzi – a 16th century historical residence at Cannaregio. From june 6th to october 30. 2009


Ricarda Peters lebt und arbeitet in Wiesbaden und Venedig
Lives and works in Wiesbaden und Venedig
1960 Staatsexamen an der Werkkunstschule in Offenbach a.M Diploma at Artschool in Offenbach a.M.
1968-1972 Meisterschülerin und Assistentin von Professor Emilio Vedova Venedig Masterpupil and Assistent of Professor Emilio Vedova Venice

Studium der Archäologie und Kunstgeschichte an der Johannes-Gutenberg- Universität in Mainz Study of Archaeology and History of Art at Jonnes-Gutenberg-University in MainzStipendien, Studien - Arbeitsaufenthalte
USA, Rom, Venedig, Israel, Südfrankreich, St.Petersburg, England, Neu Seeland, Indien, Breslau, Istanbul.


2016 Videoinstallation Ufficio Olivetti Venezia Ausstellung FAI
2015 Kunsthalle Wiesbaden, Werkschau
2014 Deutsche Klinik für Diagnostik
2013 Collateral Event Venedig Palazzo Albrizzi
         "Constant change" and Totem Poles "Endless Image"
2012 Deutsche Bank, Wiesbaden - "schwarz und weiß"
2010 Bellevue-Saal Wiesbaden, Verein zur Förderung künstlerischer Projekte mit gesellschaftlicher Relevanz
2009 LIII.Biennale Venedig „Detournement Venise“, Palazzo Albrizzi
2007 Galerie 40 Rother Wiesbaden
2006 Nacht der Galerien und Museen Wiesbaden, Videoinstallation
2005 Goethe Institut Frankfurt a.M, Joint Artists, Trash-Art-Series foto-based images Exground Filmfestival, Videopräsentation „Wind and Matter“
2004 Ateneo Veneto Venezia, Videoinstallation:“Reflection on Reflexes“, präsentiert von Dr.P.Rylands, Guggenheim Collection Venedig
2002 Deutsch-Italienische Gesellschaft, Palazzo Albrizzi
2001 Rathaus-Galerie Wiesbaden
1999 Kunstverein Friedberg mit Monika Rohrmus
1998 Studio Lafajette New York mit Monika Rohrmus
1996 Galerie Barbara v.Stechow Frankfurt a.M
1996 Museum Bad Hersfeld
1996 Municipal Galerie Kefar Saba
1996 Kommunale Galerie Schlangenb
1994 Galerie Woeller-Paquet Frankfurt a. M.
1993 Gallerie Rippendrop, Eltville
1992 Bellevue-Saal Kulturamt der Stadt Wiesbaden
1991 Kongress für Prä-und Perinatale Forschung Heidelberg
1990 Galerie Stolanova

Gruppenausstelungen (Auswahl)

2015 Gruppe 50 im Rathaus von Wiesbaden
2014 Gruppe 50 im Rathaus von Fatih Istanbul
2012 Breslau - Gruppe 50 - Akademie
2010 Kunstblock Frankfurt a.M
2007 Görlitz Gruppe 50
2004 „Open-Asia“ Lido di Venezia
2004 Future Show Milano, Videoinstallation
2000 Teilnahme am Projekt „Milestone for Peace“ International Artists Museum, Biennale Venedig
1997 Trash-Art-Series werden bei Vorträgen von Dr.I.Isaak, New York, über die „Garbage Girls“ an Universitäten in USA, London und Salzburg gezeigt
1995-1996 Art Frankfurt Galerie Barbara von Stechow
1994 Hessiale 94 Wiesbaen, Ministerium für Wissenschaft und Kunst
1994 Hessische Landesvertretung in Bonn
1993 St. Petersburg, Gruppe 50, Museum Anna Achmatowa
1991 Musik und Malerei, Hessischer Minister für Bundesangelegenheiten Bonn
1991 Wiesbadener Künstler aus 3 Generationen Museum Wiesbaden,
1991 Stadthaus Klagenfurt

Stipendien scolarship/studygrant

USA Rotary International, Italien Dante Gesellschaft
2009 LIII. Biennale Venedig Palazzo Albrizzi, subventioniert vom Hessischen Ministerium für Wissenschaft und Kunst, Kulturamt der Stadt Wiesbaden
2004 „Open Asia“ Lido di Venezia, unterstützt vom Kulturamt der Stadt Wiesbaden
2002 Ausstellung Deutsch-Italienische Gesellschaft Palazzo Albrizzi Venedig Unterstützt vom Kulturamt der Stadt Wiesbaden
1998 3 Monate Arbeitsaufenthalt in New York, unterstützt vom Hessischen Ministerium für Wissenschaft und Kunst, Kulturamt der Stadt Wiesbaden
1996 Arbeitsstipendium für Israel, unterstützt vom Hessischen Ministerium für Wissenschaft und Kunst, Kulturamt der Stadt Wiesbaden
1993-1998 Atelierstipendium im Kunsthaus Wiesbaden

Öffentliche Aufträge

Public commisions
2010 Auftrag der Fondazione Anna Bianca e Emilio Vedova das skulpturale Werk für die Ausstellung „Vedova Scultore“ zu restaurieren
1999 Einladung zum Wettbewerb Wandgestaltung Naspa Wiesbaden
1984 Restaurierungsarbeiten im Auftrag des Assessorato alla Cultura di Venezia zur „Retrospective Emilio Vedova 1940-1985
1964 Wandgestaltung im Foyer des Elzer Hof in Mainz Ankäufe: Sammlungen, u.a. Sammlung Deutsche Bank