Upon entering the Kyst Gallery, located in the heart of the picturesque historic center of Dragør, the visitor is greeted by a suspended atmosphere, where natural light merges sublimely with the works of Laura Theresia Koehler. The gallery, nestled between cobbled streets and a peaceful harbor, becomes the ideal setting for an exhibition that explores the delicate boundary between tangible reality and the transcendent, evoking the philosophical reflections of artists like James Turrell and Olafur Eliasson, who investigate the perception of light and space. Born in Germany, Koehler brings a distinctive artistic language to her works, rooted in abstract expressionism and European modernism, yet distinguished by her personal exploration of acrylics and oils on canvas. Her technique relies on flat, thick brushstrokes that, while maintaining a vibrant and material surface, suggest depth, much like the works of Mark Rothko, where the simplicity and repetition of colors become a vehicle for universal emotions.
Laura Theresia Koehler, “Apples of the Sun”, installation view at Kyst Gallery, Dragør, Denmark, courtesy Kyst Gallery
Her compositions play with the layering of chromatic elements, creating a dynamic and luminous spatiality. The colors, often in fluorescent tones, amplify the sense of energy in her works, transforming them into inner landscapes filled with tension and vitality. The solar luminosity that permeates the exhibition Apples of the Sun becomes not just a formal element, but an invitation to explore the nuances of perception, evoking the visual power of masters like Wassily Kandinsky, who explored the spirituality of color, or Yves Klein, who used blue to evoke metaphysical dimensions. The title of the exhibition leads us to confront the essence of light and its mysterious force, themes that have always been at the center of artistic and philosophical reflection. Koehler’s works, while maintaining a tangible connection to the figurative, stand out for their chromatic boldness and the intertwining of lines that create fluid and eclectic structures. The canvases are not mere representations of nature, but true inner landscapes, traversed by powerful energy and warmth that seems to radiate from within. Light, more than a simple visual aspect, becomes the thread that connects every form, every stroke and every nuance.
Laura Theresia Koehler, “Apples of the Sun”, installation view at Kyst Gallery, Dragør, Denmark, courtesy Kyst Gallery
In Sunscape, solar chromaticism defines the structure of the work, bringing forth figures that, while maintaining a certain harmony, emerge with striking clarity. The artist has stated that she does not plan the compositions in advance but allows the forms to emerge spontaneously during the creative process. Each work, therefore, seems like a revelation, a moment taking shape before the artist’s eyes. This ongoing interplay between spontaneity and control becomes one of the distinguishing features of her work. The lines, despite their apparent freedom, define spaces and movements that constantly engage with light. In this way, the artist succeeds in conveying intense energy without ever sacrificing visual clarity. There is a continuous tension between the organic flow of shapes and the structure of color contrasts, between the intensity of tones and the delicacy of transitions.
Laura Theresia Koehler, “Wasserfall im Mondlicht” (“Moonlight Waterfall”), 2024, 82 x 62 cm, acrylic on canvas, courtesy Kyst Gallery
A recurring element in this series is the translucent water droplet, a small symbol suspended in time. Though appearing as a secondary detail, it introduces a deep symbolic dimension. In contrast to the intensity of the chromatic hues and solar radiation that characterize the scene, the droplet creates a sense of dreamlike stillness, as if we are observing a crystallized moment. In its simplicity, it reminds us of the fleeting nature of the present and the inevitable passage of time, lending the works a meditative quality that invites reflection on the eternity and impermanence of life, themes also found in Heidegger’s philosophical reflections on “finite time”. The technical quality of Koehler’s works, evoking a sharp and precise vision, is equally captivating. The artist’s technical mastery imbues her canvases with a glow, where colors appear ready to expand and envelop the surrounding space. The flat surfaces seem to reflect light in an almost digital manner, yet the physicality of the painting, with its gradations and tangible depth, preserves the artistic value of the work. This balance between visual precision and the perception of movement allows the viewer ample room for interpretation.
Laura Theresia Koehler, “Der blühende Berg” (“The Blooming Mountain”), 2023-2024, 100 x 80 cm, acrylic and oil on canvas, courtesy Kyst Gallery
At the heart of the exhibition lies Der blühende Berg (The Blooming Mountain), acrylic and oil on canvas, a work that embodies the artist’s poetics: the tones overlap in intense layers, evoking the vitality and continuous transformation of nature. The title itself suggests an impetuous growth, a blooming that goes beyond the botanical plane to reveal an inner dimension, as if the landscape were the extension of the artist’s soul. The daytime star, in fact, does not merely appear as a source of light but takes on the role of a generative principle, infusing energy into the matter. This approach connects to the concepts of art as transformation found in the works of modernist artists such as Giacomo Balla or the metaphysical work of Giorgio de Chirico, in which the landscape reflects a psychological dimension. Not far away, Siebenfarbige Erde (Seven-coloured Earth) presents itself as a serial work, consisting of five limited-edition prints (2023), which testify to the artist’s ability to interpret the same solar appeal in multiple works. Here, the stratification of pigments is more contained and subtle, while the surface seems almost to pulse, as if it were holding the echo of time: the shades overlap like sediments, recalling the memory engraved in the earth. This work can be seen as a reflection on the concept of sedimentation and time that permeates many of the deeper works, like those of Piero della Francesca.
Laura Theresia Koehler, “Morgenröte” (“Morning Red”), 2024, 104 x 84 cm, acrylic and oil on canvas, courtesy Kyst Gallery
In Apples of the Sun, luminous energy is not only a central theme but a silent presence that interacts with space and time. The light merges with the serenity of water, creating a balance between the radiating power and the calm it suggests. Lively forms alternate with spaces of tranquility, evoking an ongoing dialogue between humanity and nature, between earth and sky, between the tangible and the invisible. Each brushstroke becomes an invitation to reflect on the deep connection between the physical and metaphysical worlds, a constant tension between vital energy and its manifestation in the world. The Kyst Gallery, immersed in the tranquility of Dragør, is not only the container for this visual experience but becomes part of the dialogue between light, space, and matter. Koehler’s works, with their ability to evoke a reality suspended between perception and imagination, intertwine with the surrounding environment, transforming the gallery into a place where painting is not only observed but lived. Here, art does not merely represent but becomes the vehicle for a broader reflection on time, memory, and the constant oscillation between the visible and the invisible. Apples of the Sun is, therefore, not just an exhibition but an invitation to reconsider how light and color shape our perception of the world.
Info:
Laura Theresia Koehler. Apples of the Sun
15 – 31/03/2025
Kyst Gallery
Kongevejen 23B, Dragør, Copenhagen
She graduated at the Academy of Fine Arts in Catania. During her lifetime, she has experienced various arts including sculpture, theatre, dance and photography, and the latter one became the springboard for her eclectic and innovative artistic path. In 2010, she approached the art curatorial world and started to write reviews and critical texts; later, she founded “Artisti Italiani – arti visive e promozione”, an organisation which deals with all the promotional aspects of contemporary art.
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