In this masterwork, Kathrin says to us “Two lovers falling from heaven, loosing the track of time”.

In this art piece we can find the evident referent of Kees Van Dogen and his “Avenue du Bois de Boulogne” (1928) in the art of using a stroke which is simple at first sight but complex in essence when it becomes a figure and a shape at the same time, representing both the lineal border of the character and the clothing, breaking the Gestalt properties of figure-ground, line and colour.


We also recognize Marc Chagall with “The Creation of Man” for the transparency endowing it with subtlety, as well as at the broken stroke as if the air was a part of the characters in both art pieces. The grounds and strokes, which are straight, prompt as the very characters fall, remind us of Odilon Redon and his Salome’s skirt and ground, in red.

In this fine piece of art, we can perceive a powerful expression of the strong elements which compose it. The feminine character contains even redder than the ground of passion towards what they are falling into. Red is the only colour with inner movement; green is the only colour without inner movement, whether eccentric or concentric, and this leads to a chromatic paradox directing our glance to the characters. This paradox is complemented by a brush stroke of rose at the male character’s legs next to a green triangle whose tension is also descendant.

Both the rose ground ‒that is red with white and brush strokes of blue as if pieces of the sky were falling‒ and the hieratical posture of the couple within a great movement of lines and colours talk us about Kathrin’s statement on loosing the track of time.

The blue from the sky behaves as the spectrum of blue colour does: its depth and centripetal tension stress with a darker hue, and soften with the help of white. This is why we can see many strokes of different blues in the sky, the most electric stroke being just in the diagonal drawn by the bodies since that is the point from where they have fallen. “To fall in love” is the English expression meaning “to become in love”.
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This audacious plastic proposal that integrates a red and green figure on a pink and sky-blue ground achieving a chromatic harmony makes this figure (“the couple”) be detached from the ground almost as if it was tridimensional: like two dolls stuck on a canvas falling beyond time and space.

One more time Kathrin stamps a touch of Love and Hope in a world of war through this apologia of the infatuation state, where everything is possible.

Here we can see all the tension angles and triangles leaning on the golden division of the plane. These three angles, which are the skirt, the black triangle of the man’s clothing and his foot, are pointing to the left to compensate the fall to the right.

As it has been aforementioned when we introduced her first masterwork, all of Maye’s artwork is perfectly organized following the golden mean rules.

In this masterwork Kathrin says to us: “The lady is reflective, it might be due to some haze in her head. She is a modern girl. The question is: she likes to be this way or she doesn’t”. We select this masterwork to explain Kathrin's artwork from the point of view of the golden ratio. Precisely, it will let us demonstrate that besides the meaning and resignification charge of the own image as a plastic element, it is masterly organized likewise any of the artwork from the aforementioned masters (see golden mean section).

Let us start discussing resignification and its destiny. The character obviously looks downwards, as it is for funerary sculptures that we find at cemeteries or in the systemic psychology from Bert Hellinger when a dead person is sought: both situations have the same meaning.

Additionally, we can see the haze behind, as a burden coming from what she is looking at on the ground (the dead, probably a loved one). We also notice that we see neither her feet nor her legs, which is directly linked to the inability to move forward as well as the fact of being disconnected from the present moment since her mind is in those thoughts.

Kathrin demonstrates it also through the shapes that we see in the analysis of the diagonals dominating this masterwork, where we find an enormous cross on top of her head. Notice the yellow lines in the subsequent golden mean study where we will also see the first golden division of the plane marked with red lines, the second division ‒marked with green lines‒ consisting of the golden division of the first one and finally the third one marked in blue.

We can see the perfect order of it as the optical points of tension lean on those golden divisions of the plane, the character’s head as well as her gaze being placed at the first intersection of the first division (the same as the horizontal black line). We can also notice that her arm leans on the first and second divisions, almost in an absolute way, and her whole body leans on those lines.

The breaking points of these tensions and angles corresponding to the skirt are determined by the third division as a dialogue with the line at the upper right angle, which endows this masterwork with an extreme harmony, allowing the natural outline of the observer’s glance to cover everything, although the main figure is placed at the point of less visibility of the optical plane. Kathrin solves it with a Cinquecento mastery in a postmodern art piece.

Going back to the diagonals, Kandinsky understands them as a point that, depending on their orientation more or less vertical or horizontal, represents the union of earth and heaven (vertical) and the dead man (horizontal) (Kandinsky compares this line with this ideogram). As a matter of fact, Kathrin uses these lines to talk to us about this topic, and the same applies to this masterwork character’s gaze. In this case, the diagonals are almost at 45 degrees with respect to the union of earth and heaven and also to the dead or the most absolute silence after the point as an abstract concept.

With these lines and this magnificent mastery, she lets us get a glimpse of a cross with the burden that it implies, including it as a symbol of sacrifice. The character itself makes the sacrifice as a homage to that being that does not exist anymore. This masterwork is an ode, a tribute to love remaining beyond death.

This masterwork is a collage containing an original advertisement from the 1920s. In it, Maye integrates objects from the beginning of the 20th century related to the eternal beauty which ‒as she states‒ is represented by evergreen leaves.

This fragrance belongs to the olfactory family of fragrances for men and women (its first edition was in 1926). This art piece tells us of care and beauty, of the power of both sexes sharing the same fragrance and its consequences in a present world of war between sexes and orientations.

Once more, in this masterwork, Maye tinges a divided and separatist world with harmony using her gentle but categorical brush stroke of tenderness. She also tells us of the triumph of the effort: LT Piver started as a trainee in a perfume factory established on July 8th 1774; around 1806 entered the predecessor of LT Piver, and then he became a shareholder of the perfume company in 1813, changing the company into LT PIVER in 1823.

Plastically, this discourse is supported by the yellow line across the paper. This line is ascendant and ‒as we have already mentioned‒ connects earth and heaven. This is the elevation; due to yellow, the line has the properties of brightness and intensity, since yellow is the colour of gold and the sun, which is sharp, eccentric and intense.

As a counterpoint of this sharpness, Maye makes a chromatic balance using green figures. Green is a peaceful, relaxing colour; it represents absolute stillness and suggests nature, calmness, and the absence of joy or sorrow. As the colour of spring it has been always related to hope, the good to come and faith in eternal life. This is how we understand the union and congruence between the implicit message and the chromatic message which is the same.

From the point of view of Heinrich Wölfflin’s Synthesis, this is an absolute composition of a "Vision of closed form”. (This vision expects every piece of art to have a unitary, organic form, and to be able to provide a limited image of itself via more or less constructive means: this image shall be reduced to a complete significance, where nothing can be removed from its place. It must be a stable balance between the two halves of the painting; besides, whether it is a portrait or a figure or a landscape, the painting must be always dominated by the opposition of vertical and horizontal lines. The structure takes into account the space provided by the canvas, and the content adapts to that space. It is a constructive style based on the solid and durable elements of the shape.)

As a unique feature, this Pop Art collage includes an element before 1950-1960, when it emerged and reached its peak. Once more, Kathrin astonishes us by creating new paintings never occurred  in the history of art.

We will not be long in the golden mean study since it has already been explained some of what to see in it and how to understand it. What is noticeable is how elements are supported in this sublime composition.

In this piece, Maye explains that these are flowers growing in the desert. With both her classic subtleness and her usual forcefulness this artist lets us glimpse an array of different meanings in each of her masterworks.

Once more, in this case, she tells us of the eternal, the perennial, the triumph over the boundaries, the beauty of the emptiness and the nuances of silence.
As a constructivist resort of all the great masters who belong to this branch, Maye uses the ground as a colour, the transparency to unconfigure and resignify the line at the same time that the recognizable elements are resignified and conceptualised as plastic accents in a piece of art where the ground is as important as the figure and it is a part of it. White as the dominant element means silence and purity, hope in a future of light. But it is also the blend of all colours: if we make a chromatic disk and make it spin at high speed we can only see white, which means the union of the spectrum, the return to the light from the fragmented colours. We also find blue and red nuances.

Here we can see two evident referents: one of them is manifest, and the other is subtle. The white round is identical to the ancestral Vuvi masks.
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Moreover, to compensate for the weight in the right part of this piece, Maye uses a red spot (flower) in the lower left angle: this is an evident reference to Camille Corot’s brand or his signature.As we cannot but do here, you have at your disposal the golden mean study of this masterwork where you will notice how the elements lean on the structure and magnify the natural trajectory of the eye being placed between the first and the second division. Maye displays some letters as a mystery to be revealed in this masterwork where she reconfigures the written language as a plastic element. Those letters already exist in this support from the beginning as it happens in many Maye art pieces where recycled materials are present.

Kathrin tells us that this masterwork represents two Granny Smith apples. This apple has green skin with round white dots. This remark shows the fact of perceiving the small and imperceptible over the coarse and simplistic perception.

As an informal idea, the apple has always been red and conceptualised as the forbidden fruit. Kathrin paints it white to unconceptualise its negative charge and chooses a Granny Smith as an “everlasting green”: the colour green outlasting autumn and winter which are symbols of time passing by.

The black dots are the seeds that represent rebirth. When an apple falls, a tree can sprout and so do hundreds of apples. This is a part of the metamorphosis. You can find the other one at the masterwork’s ground and its construction.

Maye uses and unconceptualises this fruit to talk to us about hope and eternal perennial values, rebirth and reconstruction: a claim of eternal life through our seeds, and the beauty that we leave in this world, as it is for art.

The ground of this masterwork is composed, once more, of acquired materials to give them a much longer life, following the meaning of the own masterwork. It is made of iron, durable material, and it contains the colours from the soil.

Kathrin tells us what white colour means for her in this creation: clarity, purity, and openness. This is what exactly instils this fantastic masterwork halfway between Simbolism and Conceptual art. Clarity helps us to live with peace, coherence and truth and also ensures self-esteem. Purity keeps clean our mind, heart and soul and prevents us from having negative thoughts. Openness is the secret to not being prisoners of our programs and commands and maintains our consciousness in the present with all the subsequent virtues, outlining the path to a mental state of happiness independent of external factors.

This is how Kathrin honours life and hope, happiness and consciousness. This joy is implicit in this masterwork and the harmony it instils.

In this golden mean study, we can see how the Artist perfectly organises the apples in the first division-horizontal; they are perfectly separated by the second golden division-vertical. Similarly, the seeds or black dots lean on the second division-horizontal dropping in such a way that a rotative movement of the vision is generated, breaking the vanishing principle to the right and thus achieving harmony through the breach of this plastic art principle, not accidentally but quite the opposite. Maye astonishes us with this inverted counterbalance –as it would be seen by a left-handed person– to equilibrate the left part which is essentially orange-coloured –therefore, centrifugal– with the right part and its blue charge ‒that is centripetal and deep.

Black over white is categorised as the first order in the visual impact. We use to write black over white using either a pencil or electronic devices. These principles are in perfect resonance when they are organised as we have already said in the first and second golden mean order. This coherence between composition and visual impact is exactly what provides this masterwork with that golden halo, pseudo-magical: it catches our sight and makes us caught up in the artwork’s meaning which is supported by this perfect structure with no default.

In this wonderful masterwork, we can see an original poster from 1965 made of metal plate, of the first concerts in America. It is halfway between Post-Modernism and Pop Art, an espace occupied by Maye between cultures that those had left empty: the mere purist identification of the different schools provoked that emptiness neglecting the grey scale or intermediate states between different ways of thinking which arose thanks to the previous, pre-previous and other ways of thinking lost in the origins of time.

From the beginning of Art (see Altamira and others), the new movements, structures and schools have always settled on establishing the counterpoint with their predecessors. That space where it is indifferent whether the plastic-mental structure is in adoption or rebellion, acceptance or denial, is the space occupied by Kathrin with a new synapsis. This is why ‒as Kandinsky and Tao philosophy state‒ it is silence or the empty space between things that conform to these.This clean perception and this harmony to the extreme reach excellence in composition and make this piece of art –in my humble opinion– one of the most important of this century. Please refer to the golden mean study to let the critical mind rationalise the pleasure of your retina when it finds itself reflected in it.

The mere fact of suggesting an ascending rectangle between two obviously curved strokes outlining the natural outline of the eye on the plane corrupts the biological structure with mastery: the rectangle becomes the first and last point of view instead of the lower left angle, that is where the eye would go due to the structure itself and where the artist’s signature and name are placed, in the right. This fact denotes sublime humility as well as the use of the signature as a plastic element to close the optical circuit, resignifying it and including it in the piece of art as a black stroke. The objective is to redirect the eye to the picture at the upper centre, which makes us stand in front of the first piece of art using optical principles and the signature itself to achieve that almost obscene great harmony in all the history of art. Only Hondecoeter and some others used the signature as a plastic element in their artworks although many of them included it implicitly, especially during the Renaissance, but never to compensate the plane or as a plastic element to moderate tensions.

In this simple study of this masterwork’s structure, we can see primarily ‒as we have already mentioned‒ the properties of red as the only colour with inner movement, without centripetal or centrifugal tension in contrast with the green, which is the only one that has neither inner nor outer or own tensions as it is the absolute stillness.

This structure is the result of the use of the Fibonacci spiral as well as a replica of its major circumference. The latter is the second golden division where it does come from. This incredible plastic structure (worthy of the great masters of the Renaissance applied to a masterwork containing touches of Abstract Impressionism as well as an undeniable reference to Pop Art) provides this piece with a unique strength and harmony: the inner final of the spiral leans on the second division of the plane having started at the first division and meeting the circumference at the second division-horizontal.

It is also noticeable how the text “Rolling Stones” is leaning on the lower second division of the upper plane and how she places the date of the poster with that 1965 at the upper first division-horizontal, giving that year the prominence it deserves and generating a dialogue with the signature ‒specifically Maye‒ leaning on exactly between the lines of the lower second left division-vertical. This is how Maye uses the signature as a plastic element (as we have already mentioned) to close the natural trajectory of the eye and give us a visual pause in the different perception steps, letting us the time to integrate that date, the element that makes this masterwork to be a journey through time.

In this masterwork, the most obvious feature is the original printing plate of the Beatles. Although at first sight it is similar to the previous one, it is indeed very different. In this case, the meaning is not defined by the colour but merely through the structure.

We can find two segments of circumferences in the upper part in red and two strokes in black in the lower part. We have already mentioned the line and its ascendant or silent properties depending on whether it is vertical or horizontal. Regarding the diagonals, it looses or gains those properties depending on its proximity to the horizontal or the vertical. In this specific case, the tension is clearly ascendant. This is why we proceed directly to the study of this complex masterwork

Here we apply the concept of signature as a plastic element as we have done previously, including the variation that this piece demands to maintain its harmony.

To confirm the absolute mastery of Maye, we will notice that the blue rectangle of this study demonstrates that the intersection of the upper part, that is, the width of the printing plate with the crossing from the compass, indicates exactly the golden section of this printing plate’s width. Sublime…

In the golden mean study, we can see how Maye perfectly defines a stroke that it is completed as a golden compass, exact and perfect, replicating that one ‒previously given by the black strokes‒ as a mirror, supporting its minor side against the minor side of the replica. As for the two circumferences, clearly traced with their most boreal point, somehow conform to a sort of Vesica Piscis within a golden compass. These intersections clearly denote that this masterwork is organized using a composition founded on pitagorical principles.

We can also see a parallel (dark blue line) drawn by the intersection of the compasses; it contains (all together with the edition of the plane) the red line displaying its printing mistakes within its width. Besides, we notice how the position of the printing plate is defined over the first and second lines of the plane.

This is an act of superb plastic art that breaks away from every prior structure. This is probably the door to a new school.

In my humble opinion, a masterwork like this one becomes Maye into a turning point in the history of art, similar to Monet, Van Gogh or Mondrian and Picasso.

In this case, we are dealing with a tribute to sacred geometry, where there is a dissolution of dualism and empty space between objects. The same did this music band creating a new style.

Once more, we find an absolute coherence between the masterwork, the structure, the meaning and resignificance, implicit and explicit message. The first one remains hidden among the colours and lines reconfiguring the perception of the observer every time they stop to see and watch the artwork.

As we consider the previous golden studies explanatory enough, hereafter we invite you to discover the structure of the following masterworks on your own. To avoid the annoyance of abuse from mathematics, we will focus on the significance and plastic aspects of the amazing Kathrin Maye’s artwork.
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Maye says about this masterwork: “it is Light within Shadow”. Displaying an obvious golden mean structure with a great nod to Tapies and many of his paintings organised similarly, this one belongs with no doubt to the Informalism

Again, Maye demonstrates her ability to go across styles and schools with great ease, creating great masterworks. On the ground, we can see a pink colour as well as the murk palette of Georges Mathieu at the back of the untitled artwork (Oil on canvas) located in the art archives of Art Basel Hong Kong 2018.

In this masterwork, Maye –the same as Tapies– violates the trademark of Informalism which is the lack of structure: she organises it at the first golden division of the plane respecting the vanishing point to the right employing a drop to the left, giving to it a total perception of the plane, object-espace.

A light within the shadow leaning on the right side holds up, even more, the principle of balance aforementioned (see previous graphs.

A beam of light appears as a broad stroke dissolving once more the boundary between ground and figure. Because of the presence of pink, we ignore whether it is absence and transparency or it is a way to break the boundary between the line and the object, the line and the colour. This is a feature of Maye’s artwork, unique.

Light and Shadow, the one cannot exist without the other. Dualism is explicit both at the ground and at the luminous stroke. Maye invites us to think about it in our inner lights and shadows, as well as in the periods of life. As always, she talks to us about the triumph of joy and hope over everything. This is why the Light stroke apparently comes out of the plane and floats at the front of this masterful informalism creation.

Kathrin says to us about this piece: “The sea shows its pollution again, which is caused by civilisation. The fauna from the sea is squashed in a small area; the girl in the boat is Greta Thunberg.”

Again, we deal with a perfectly organised piece. However, this time Greta’s image is displayed at an angle practically lost in the masterwork despite being the first point that we observe…

Maye tells us of the plastic island and fishes caught at the sea bottom. This is a denouncement piece that she uses to make us think about our responsibility in the absurd fact of polluting our environment. She questions human intelligence from peace and harmony.

A piece of art in colour but not hyperrealistic. It rather contains nuances and an order worthy of Mark Rothko’s Number 15 from 1957 but inverted. A dark blue sky evokes a gelid and unmaterialised depth, solemn and static: Maye uses these properties to discuss the gravity of this topic, the sea displaying a lighter hue that becomes indifferent and empty, as our attitude towards the problem. As usual, there is a profound coherence between the chromatic message and the subtext of the meaning.

Greta wears a green dress. We have already introduced the properties of this colour: hope and peace. She observes the disaster from that hope: sailing in a boat through the painting, the fishes are retained in a space which is small but very rich chromatically to show the beauty of what we are loosing. This is why it contains red, due to the love and passion inherent to be alive.

Maye states that this masterwork is an allusion to Covid. We will neither broach the perfect order of it nor explain how the lines are masterly sustained.

This artwork is obviously informalist and contains a great nod to Karl Otto Götz. It shows us a discoloured blue implying sadness and abandonment, as usual employing vertical lines that link earth and heaven as if it was the case of rising souls. Besides, we can see the black strokes on curved lines with an evident inclination to verticality. We have already explained those following Kandinsky, that is, the ideogram of the dead man.

Once more Maye astonishes us with a severe coherence between message, order and structure of planes and chromaticism. She deals with death for mankind while using aquamarine strokes as a kind of light hope coming.

We observe the gorgeous particularity of a new concept generated within the properties of the line. In her masterful brush strokes, we notice how black remains at the stroke edges, tracing parallels and creating a sublime dialogue between its properties. To understand this masterwork we will briefly explain the properties of the line.
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Line properties

1. Rhythm
2. Tone
3. Value
4. Intensity

The line in its ideal or abstract concept

1. Rhythm: It is generated by tensions impacting the trajectory of the point; it provides infinite possibilities among straight lines and curves.

2. Tone: In this case, we will discuss tone as in music. The tone is generated by tensions that impact the body of the line, leading to a sharper or lower expression.

3. Value: It is the quantity of matter left by the point in displacement, either covering the plane or not.

4. Intensity: It is the chiaroscuro tone of the line (see shade and hue), leading into a greater or lesser quantity of matter.

Detail of the above, the Maye line

Maye says: "This is a game between Green and Blue". This informal and harmonious masterwork of abstract expressionism undoubtedly shows Helen Frankenthaler's style as well as the typical splashed back of Rufino Tamayo. It is perfectly organised following the golden mean rules –as we can see not only at the verticals and their beginnings (both green and blue) but also horizontally. It also has the particular feature of being inside another one, as it is for the kind of frame that contains it with a total Art Nouveau palette and a pinwheel structure absolutely constructivist that we notice mentally removing the white artwork at the front.

In this splendid masterwork, we find the reference to three schools without any plastic or ethical-aesthetical conflict. This masterwork distills joy but it also displays a powerful energy using ochre and sienna in the perimeter. The eye is compelled to read it completely with identical attention due to the subtle lines running over the white until the end at the lower right angle with three horizontal accents (three short diagonals one on top of the other). The figure at the centre with the sienna stroke compensates and links the perimeter with the whole plane, tracing the path to what has previously been described.

This is a simple and plain masterwork at first sight. However, it implies great expertise from Maye and contains many reading levels. If we stare at it and then relax our glance we will notice the movement and alteration in our perception as if it was a chromatic experiment from Plank, or Troxler's or an Akishory Kitaoka art piece. It is a quantum and pluri-reading piece of art. It is indeed a great contribution to the coming century painting

Maye tells us that this masterwork represents “A cow isolated in a polluted meadow”. It forms a pairing with the one of the sea. They are both pieces of art that denounce the climate catastrophe.From the cave paintings bovines are intrinsically linked to mankind. Hathor is the Egyptian goddess of love, joy and dance. In the beginning, we had the representation of the Milky Way –that is the reason for our galaxy’s name–, milk exuding from a cosmic cow’s udder. Subsequently, it was represented as a woman displaying cow horns and also as a cow holding a solar disc with its horns. Auðumbla, the great cosmic cow in Norse mythology comes from the ice mountains, being born at Niflheim (worlds of darkness, blackness and dragons). From Auðumbla, that licking the ice discovers and she sets free a man whose name is Buri –the first god in Norse mythology, et cetera– to the Indian culture until nowadays.

In this masterwork, Maye tells us of the sacred meaning of the cow. Rather than from the point of view of the goddess, she does so as a symbol of nutrition, the nourishment providing life and being in danger due to our actions.

Maye chooses green nuances with blue, light blue and yellow strokes, using dark spots, a soporific and psychedelic texture, as well as a variation of the iconic chromaticism, the fantasy or magic colour, as if she practised solarization to a picture of a dirty meadow in the style of Ouka Leele. This cow has red spots, such as Ouka Leele as well, that in fact represent blood falling from it and the dark space occupied by the animal. This fanciful use of the colour deconceptualises the idea of a meadow which becomes comprehensible due to this new chromatic transgression (a principle of surrealism) and represents henceforth a puddle of polluted water with oils. That space becomes disturbing and confusing.

In this pictorial expressionist masterwork worth of Die Brücke and the cows of Ernst Ludwig Kirchner in a more Pop approach, Maye lets us glimpse a denounce of something terrible in good taste and not being vague or cowardly, that is being brave and elegant.

As always, even in her masterworks of denouncement, Kathrin gives us a subtle halo of hope. In this case, it is given by the central pyramidal done by yellow; yellow is also the back of the bloodline, and that great triangle in yellow is a structure totally Rennaissance. With this colour, she points to the heavenly light coming, as a new beginning, of the clear mind and the abundance of good things.

Maye tells us that this piece is a “homage to the great creator of the brand Versace and great designer Giovanni Maria Versace”, also known as Gianni Versace.

In this masterwork, we can see that Kathrin, the same as Gianni, gives some touches claiming once again to break the boundary between fashion and art with his dresses for theatre and cinema, including this iconic cloth in her creation.

Fashion is art and there is no discussion about it in the present world. It is probably more artistic than many artworks that we can find in art galleries, especially in Versace’s case.

In a piece of art plenty of pink, fuchsia and lilac ‒being these three colours also the name of flowers‒ the artist invites us to a world of beauty, calmness and harmony provided by the inner movement of red softened by means of White. We can notice a plastic element in red at the lower right angle, in the best Corot style as we have already mentioned for other Maye masterworks: it compensates the natural trajectory of the sight and succeeds a circular piece, so well-organised and compensated that it is almost spherical.

Maye and her usual coherence between the pictorial, the symbolic and the plastic, astound us with this masterwork imbued with children of violet, which is the colour of temperance, lucidity and deep thinking. It is also a mystical colour that symbolises introspection.

As we have already mentioned about Heinrich Wölfflin’s Synthesis, Maye is perfect. In this case, we can clearly see that this great masterwork responds to a unique Synthesis: Vision into Unity par excellence, an unusual feature in a piece belonging to the matter informalism whose art pieces are mostly supported by large strokes.

About this superb and eloquent masterwork, Maye says: “It is the story of the time passing by”. We can find in it a perfect golden mean organisation, as has been already stated for her whole artwork. We deal with four basic elements: firstly, from top to bottom we see the red triangle ascending; as it has been already explained about the diagonals, this triangle holds a curve or the segment of a circumference, then a line with several colours and nuances plus a rectangle at the bottom, what represents a nod to the basic solids of Luca Pacioli. This is how Kathrin builds this supreme masterpiece.

Now we can talk about the meaning and resignification. This masterwork is again the denounce of human barbarism. It introduces to us a story of powder as it is shown through a horn to keep and preserve it. It is held by a red thread, the colour of passions and blood. At the back of these two elements, we can see what Maye says about the “point of explosion”; we can glimpse a texture made of rhombuses replicated at the central element of the masterwork. We can also find some expressions as if it was a lost soul.

At the central line where the rhombuses are displayed, Maye tells us that “The threads are the lines flowing from the past as water does in a cascade. As a great final element, everyone will understand what they wish or be able to the two texts from Charles Baudelaire.

To make an end of this perfect masterwork Maye places a red circle on top of her signature with a small accent at the left, which makes the red from the triangle and the red from the cascade element at the centre to be harmonised with the natural way of the human eye to look over the plane. This is how the masterwork is closed and completed, crossing an invisible but noticeable diagonal over Baudelaire’s texts, inviting us to reflect on these lines within the general message of the masterwork and beyond.

Once more, Kathrin Maye opens the door to a new synapse.

This masterwork speaks for itself. Inside an absolute constructivist structure made of squares and rectangles, Maye lets us contemplate a piece of beautiful nuances and tones in contrast with its dreadful meaning. It is unnecessary to even mention these two beings who were responsible for awful genocides to understand the denounce tenor of that masterwork.

Again, as an artist committed to ethics and values beyond politics and religion, Kathrin shows us in a very courageous way her love for love as a basic concept for our existence, as well as her profound respect and fascination for life.

It is more than clear the tone that Maye chooses for this masterwork dominated by the red colour. This denouncement within a piece perfectly organised, with such a rich chromatism, unique, shows us the human brutality in contrast with the beauty of its brush strokes, like a hymn to hope or the very sun arising every morning indifferent to the atrocities committed by the human race. That is the reason for its title, Never Again.