In her paintings which oscillate between figuration and abstraction, Veronika Hilger addresses classical subjects such as landscape, still life and portrait. The artist does not separate these genres clearly from each other, and she does not make it easy for the spectator to decide whether he or she is standing in front of a landscape-like portrait or a landscape that appears to be a still life. Ultimately this decision is not relevant for Veronika Hilger. On the contrary, she seeks answers to fundamental questions concerning the nature and meaning of painting in its formal, technical and conceptual realization. She arranges, moves, layers and alters picture elements through a very slow painting process until the outcome feels ‘natural’ to her. In this way, nature serves to explore the processes and possibilities of painting, not the other way around. For some time, the artist is also concerned with ideas of form, materiality, perspective, color, structure and coating in a sculptural way. Her ceramic objects are closely linked to painting and take up many of it’s working approaches. The sensibility and care in the handling of color, brush style and surface is transferred in three-dimensional space. Veronika Hilger creates autonomous shapes, which appear to be referring to her paintings as they originate from the same repertoire of forms.