Some pages from my digital sketchbooks

'It's all black and white', she told me, and that was a contradiction to what I up to now had seen from her work: large colored canvases, impressive colours, bright, somewhat reminding of Mark Rotko in power and intensity, but at the same time with an ease that was overwhelming at once, warmth and joie de vivre. But her sketchbooks were only black and white, the black of the pencil and the white, the parts of the page where the pencil had not left its mark. So from that point of view 'It's all black and white' was correct. (Marcellus M. Menke on the sketchbook works of Natalie Portner) 'It's all black and white', she told me, and that was a contradiction to what I had seen of her work so far: 'large coloured canvases, impressive colours, luminous, somewhat reminiscent of Mark Rotko in power and intensity, but at the same time with a lightness that was immediately overwhelming, warmth and joie de vivre.' But her sketchbooks were only black and white, the black of the pencil and the white, the parts of the page where the pencil had not left its mark. So from that point of view, 'It's all black and white' was correct. (Marcellus M. Menke on Natalie Portner's sketchbook works).