Annakatrin Kraus is a fine artist, living and working in Berlin, Germany with a secondary studio in California. Sculpture, mixed media, installations and works for public spaces are her materials of expression. While receiving a Bachelor of Art at Humboldt State University in Northern California, Kraus was a teachers assistant, worked for the university art galleries and taught ceramic sculpture at the local Fire Arts community center. She was awarded the Martin Wong Ceramics Scholarship in 2009.
In 2011, she moved to her mothers native country and completed an MFA at the Institute for Fine Art in Ceramics in Hohr-Grenzhausen, Germany. During her masters studies, Kraus lead a summer workshop at the European Art Academy in Trier, and was awarded a three month residency at the Kunsthaus 19/21 Fellowship in Pforzheim, Germany. In Berlin since 2015, Kraus further develops her work and collaborates on projects for public spaces. She has participated in the Latvian Ceramics Biennale 2016 and built an art suit at the ICE HOTEL No. 28 in Sweden 2017.
Her studio works consist of installations and abstract sculptural forms. She primarily uses clay as her working material but also combines her compositions with mixed materials. She focuses on exploring her work, collaborating and teaching.
Existing within an environment of expressive freedom, I construct parameters in which my creative impulses can thrive. Establishing a set of rules in which spontaneity can then take a leading role is at the root of my work. Small parts that come together to form a whole in the manner of sculptures and installations is at the core of my construction methods. From there I feed a drive for diversity and branch out in several bodies of work. These diverging veins include analogue form making, installations with multiples and collaborating in public space.
In the studio I address an internal space, mirroring the stages of my life through expression. In my sculptures I investigate form languages, using not only the aesthetics of light and shadow but also negative space and shape association. After the development of certain guidelines, I then create space for actions of the moment to take precedence. This way of working, contrasts my work in the public realm where shared environments come with their own starting points.
The very first time I had a solo exhibition, a visitor asked me which pieces I had made. The person was of the impression that the work I was displaying had come from several different artists. I have always taken reverence in that comment because I felt that I had succeeded in showing the many layers that make up who I am. The most essential aspect of my work lies within my curiosity for material and depicting in all honesty the many folds of my person.