Glass

Archaeologies series, 2025

The delicate glass works of the series Archaeologies operate in the field of tension between light, form, space, and their perception. Starting from classical painting, Baldhuber has developed reduced image carriers in which reflective glass, digital landscape images, and spatial extensions come together. The motifs of these multi-layered architectures of perception oscillate between fiction and reality. The combination of analog light incidence and digitally processed natural motifs creates an atmosphere that remains as dreamlike as it is analytical, a visual field in which the unconscious, the associative, and psychoanalytical ciphers resonate. Her expanded image carriers unfold a strong luminosity, opening up perspectives in which light as a medium both constructs, dissolves, and transforms spaces.
Text: Quirin Brunnmeier

Exhibition views “No Talking For Seven Days”, Behncke Gallery, „Kyoto Morph und die vier Füße des Benjamin“, Kunstarkaden Munich
Dichoirc glass, digital print on paper, acrylic paint, metal clips
Photos: Julia Milberger

Coordinates series, 2023 – 2025

Luisa Baldhuber’s surreal, at times weightless visual worlds emerge from a tension between digital imagemaking, smartphone photography, and internet aesthetics. Fragmented, architecturally suggestive landscapes unfold that defy spatial localization and instead open up imaginary expanses. A central role is
played by dichroic glass, whose polychromatic, reflective surface shifts color depending on the angle of light. Fictional image spaces as digital paintings behind the glass and the real exhibition space overlap to form an object that changes with every movement of the viewer and eludes a fixed gaze. The glass surfaces function like permeable membranes—visual thresholds to a transcendent world. They open the view onto a second, poetically charged reality, in which the real and the imaginary intermingle, in which the gaze multiplies and dissolves in a floating presence. Despite their seemingly detached aesthetic, Baldhuber’s works remain connected to the real world. She titles her works with geographic coordinates—such as 44°29’02.1″N 161°08’19.6″W (2024)—referencing concrete places. This apparent localization contrasts with the visual indeterminacy of the images but lends the works a quiet anchoring in the global and draws attention to the tension between virtual construction and the physical world.
Text: Marcus Trautner

Exhibition views “No Talking For Seven Days”, Behncke Gallery 2025, „The Moon Is No Door“, Heldenreizer Contemporary 2025, Annual exhibition Academy of Fine Arts 2023 Dichroic glass, digital print on aluminum

Untitled, exhibition views „hazy“, Farbenladen Munich 2023, Annual exhibition Academy of Fine Arts Munich 2023 digital print on dichroic glass, wall paint

Installations

Afterglow, Haus der Kunst Munich, 2024 – 2025

Afterglow envelops us in the colours of a perpetually repeating sunrise and sunset. The multi-sensory, site-specific installation by artist Luisa Baldhuber enables a form of embodied experience, which unfolds over the duration of the viewing. The shifting colours of the artificial light affect the appearance of the painterly composition on the walls, creating a dynamic landscape. The colour planes suggest an optical expansion of the space, reminiscent of a landscape, horizon or sky. Through the changing, atmospheric colour moods created by the interplay of light and wall colours, the abstract skyscape calls to mind moments in nature and allows us to dream for a moment.
The title’s reference to memory adds another layer to the relationship between light, painting and time. Inspired by the Light and Space Movement of 1960s California, Baldhuber explores the sensory and emotional impact of light through minimalist means.
With Afterglow, she also reflects on the design principles of the nearby English Garden, translating its idea of idealised nature into the liminal space of the Haus der Kunst staff entrance. The installation stages a dialogue between nature, architecture and perception, questioning the boundaries between inside and outside.
By merging illusion, paint and light, Baldhuber not only alters spatial experience but also heightens awareness of how we perceive and interpret the visible world. The recurring image of sunrise and sunset becomes a poetic metaphor for transformation and reflection.
The exhibition, curated by Anna Schneider, is accessible via the parking lot behind Haus der Kunst. The series of site-specific installations in the staff entrance reactivates hidden spaces while supporting emerging Munich-based artists.

Afterglow, exhibitions view Haus der Kunst Munich, 2024 – 2025
wall paint, led rgb light
Photo: Maximilian Geuter

Oscillating, audiovisual Installation

Oscillating is a multi-sensory installation that combines sound, light and movement. A central aspect is the artistic transformation of a self-composed sound piece into a light painting and enables the fleeting beauty of the Chladni sound figures and light reflections to be experienced as a flowing, ever-changing natural phenomenon.
Water influenced by acoustic vibrations creates graphic patterns on the surface, known as the Chladni Figures. These dynamic, mandala-like shapes reflect the invisible forces of nature and the interaction between sound and water. Dichroic glass boxes amplify the vibrations and translate them into flowing movements, while light projections transform the surface of the water into a living painting. The reflections of the dichroic glass projected onto the wall create the complementary color of the respective box, integrating painterly elements to the work.
Oscillating invites to listen with our eyes and see with our ears, until sound, light and water merge into a single, breathing rhythm, like the quiet pulse of the world made visible for an instant.
The installation was presented as Luisa Baldhuber’s graduation work for her Diploma in Fine Arts at the Academy of Fine Arts Munich.

Oscillating, exhibition view, 2025
dichroic glass, water, sound, light,
Photo: Faruk Inanmis

Solstice, Installation view

Solstice is a light installation shown as part of the exhibition “No Talking for Seven Days” in 2025 at Behncke Gallery, Munich.
The work is an immersive, room-sized landscape painting that changes its atmosphere over time through shifts in light and wall color. Painted surfaces on the walls echo the exact dimensions of the room’s real door and window, creating openings that blend architecture and image.
 The minimalist wall paintings suggest landscapes through simple horizontal lines, exploring how light, space, and perception shape our sense of place.As the light and colors shift, the walls unfold like distant skies within the room, reminiscent of the solstice.

Solstice, exhibition view “No Talking For Seven Days”, Behncke Gallery, 2025
wall paint, led rgb light
Photo: Julia Milberger

Untitled. Installation

Industrially produced thread curtains are transformed through the act of hand-dyeing into a singular, site-specific work. The intervention of color reveals the material’s potential as both a painterly medium and a spatial element. Through the linear presence of the threads, the curtains inscribe themselves into the environment like drawn lines, merging gesture and architecture.
The overlapping of colored cords and spatial context generates a space of chromatic interactions, constantly shifting with the movement of the material, the changing light, and the viewer’s position. The chosen hues respond to the colors of the surrounding space, oscillating between visibility and disappearance.
Despite the subtlety of their material presence, the curtains articulate a distinct sense of space. They delineate boundaries not through solidity, but through permeability, creating a spatial condition that simultaneously separates and connects, that defines itself as much by what it allows to pass through as by what it holds.

Untitled, Installation view, annual exhibition Academy of Fine Arts Munich, 2021
polyester thread curtains, textile color

Untitled, Installation

In the site-specific installation, Luisa Baldhuber translates the language of mural painting into an exploration of space, color, and perception. Color is not merely applied to walls, rather it becomes an active force that reshapes architectural structures and draws them into a painterly dialogue. Windows, doors, and other openings are not treated as interruptions but as integral components; they are conceptually absorbed into the composition and transformed into vibrant planes of color.
Baldhuber’s approach begins with attentive observation. She responds directly to the existing architecture, taking up its lines, edges, and proportions, and reconfiguring them in new painterly constellations. Through this process, space itself expands. The painted surfaces generate new depths, blurring the boundaries between what is real and what is imagined. Her wall paintings both dissolve and reaffirm the limits of architecture, creating moments where perception slips and the viewer begins to wonder what lies beyond the visible.
Light plays a crucial role in this transformation. RGB light, subtly shifting through a spectrum of hues, interacts with the painted surfaces and activates them anew. The interplay between light, color, and spatial structure continuously alters the viewer’s perception: flat surfaces begin to breathe, and walls seem to oscillate between two- and three-dimensionality. In this dialogue between paint and illumination, Baldhuber constructs ephemeral architectures within existing spaces — fluid systems that invite a reconsideration of how we see, move, and imagine space itself.
The work was presented as part of the graduation exhibition in art education at the Academy of Fine Arts Munich in 2021. The artist was honored with the Debutant Prize for outstanding artistic achievement.

Untitled, installation view graduation arts education, 2021
wall paint, led rgb light
Photo: Vincent Entekhabi

Untitled. Installation

Wall paint, sunlight. Exhibition view. „Wennfeldhaus“. Artist Residency Tuebingen, 2020