'Ines Spanier is interested in the graphic exploration of material structures, which she pursues down to the microscopic close-up range. The element of  temporality plays a decisive role here, both in the duration of the drawing work and in the choice of motifs. She prefers motifs that are in a state of weathering and dissolution, materials that are obviously aging by time. In an early drawing from 2009, she depicts a single body segment in the form of a vortex-like expanding landscape of skin. The cosmic and organismic dimension that characterizes her further work is already pre-determined in this initial work.

Ines Spanier does not practice formulaic hyperrealism, but develops her work in front of an open horizon of self-awareness and self-exploration. In her drawing work, this exploration of the inside corresponds to an obsession for a potentially infinite penetration of surface structures down to an unfathomable nanoscale. This urge for depth gives Ines Spanier's drawings an unmistakable touch of diaphanaty and fantastic. Here, the photographic reality undergoes a turn into an area of the informal, in which there is hardly any retinal orientation.
The repeated motivic references to tactility and blindness lead to the core of the drawings.

Ines Spanier is an artist who is characterized not only by an astonishingly high level of reflection and the individuality and depth of her work. The radicalism and consistency with which she seismographically writes down lifetime as a kind of self-experiment and thus materializes and condenses it, without succumbing to a one-dimensional conceptual rhetoric, is unparalleled in contemporary art.'

Prof. Alexander Roob