"In contrast to digital art analogue works of art have the privilege of being made of similar 'stuff' as
humans. Its material surface breathes the same air, is just as vulnerable to physical or chemical
inﬂuences, its appearance transforming with the changing light and the movement of its viewer." (Cora Waschke 2022)
"Brörmann’s paintings work like playful machines for sharing the artist’s knowledge about material, light, and colour with her public. The raised surfaces seem like a subtle invitation to the beholders to move in the space and to discover numerous new nuances due to the changing perspectives and light conditions. This, too, leads to friction that causes the different actors in the exhibition space to interact." (Kito Nedo 2022)
"Given this wider cultural frame, on a quite fundamental level Clara Brörmann’s paintings appear as aesthetic objects that resist the digital status quo of fleeting consumption.
This resistant element originates, among other things, from their objecthood that is based on a 'longer, complex process’ of production in her studio. In this sense, they are very concrete because they make the painter’s work visible and at least partially traceable for the beholder."
(Kito Nedo, 2021)