'Ines Spanier is an artist who attracted attention as early as the second semester with her incredibly concentrated drawings and has since been able to follow an unusual and successful path at the academy.
Her way of drawing with extremely fine pencils of different degrees of hardness follows an obsessive view of precision, with which the surface of things is visually “diagnosed” in an almost microscopic way.
In this sense, this view is actually more related to pathological-medical analyzes than technical imaging through scanning. It's not about a pure, aesthetic release into the extremely differentiated black and white of hard pencils, but about the second reality of the surface: this turns out to be extraordinarily far away and no longer tangible, despite or perhaps because of the close-up view. The gaze shifts from the micro to the macro levels and walls, table tops, road surfaces and other surfaces appear like cartographies of a world that is perhaps even more earthly, but perhaps also cosmic in nature. What is particularly close is transmuted into a miracle of the stranger, in which nothing can be taken for granted as it is. Ines Spanier's works show us this with a rigor without which this experience cannot be had.
Ines Spanier's work is of great intensity, the real continuum of which is patience: giving things time before they can transform into what they contain, but what is initially not visible. What is needed here is above all time commitment and a precision that must not slacken at any point in the drawing.'
Professor Rolf Bier