Digitalization increasingly forms a parallel world, a simulation that appears to be more real than reality itself. In her actual works, Gabriele Walter finds astonishing means and ways to visualize this virtual world based on data streams and to give it a tactile, physical form. In her works on acrylic glass, the net takes tangible shape and generates space. This spatiality is a new spatiality resulting from the properties of the network. Because the net is constituted just from the "in between", from the gaps between the strands and connections. Especially the folded sculptures made of acrylic glass, with their inherent translucency, depending on the light incidence change their color and apparently also their shape. They make space tangible in an impressive way.
The light penetrates the surface wherever it was not painted or pasted. Postmodern back glass painting could be called this technique, which stands in the tradition of the painted church windows. This reminiscence is particularly interesting as churches have worked intensively with spatial perception, to suggest the divine.
The spatiality in Gabriele Walters pictures is similarly thought - she also transmits the presence of something haptically incomprehensible through the composition and the insightfulness of the material. In this way, the ground is deprived of the ground in terms of its character of reality, because it is often impossible for us to separate reality from fiction. Colored shadows become the central research topic in the artist's latest works. Installations made of floating acrylic sculptures conquer the space and use light and movement to develop sculptural spaces in which the artist develops a fusion of physical real space and virtual, immaterial space. The mirror worlds of high-gloss acrylic seem to reflect reality, but are only an optical illusion.
The shadow is no longer the derivative of a body, but becomes an autonomous sculpture for Gabriele Walter.