‘ The perhaps most fascinating feature of Heike Weber’s work remains hidden from the exhibition visitor: namely the fact that to begin with at least, everything is white, immaculately white. Before the actual drawing act begins, before Heike Weber tackles the site with bright-colored permanent felt markers, the entire room has already been transformed into a three-dimensional sheet of paper. The artist’s temporary workplace is covered in white PVC and makes up a projection room in which the viewer can recapitulate for him/herself the genesis of the floor and ceiling drawings as a poetic after-image. A white cube that only exists as a statement, as an aesthetic backdrop that inevitably vanishes, effaced by the drawing that appears in situ. This provisional arena gradually fills with reductional graphic gestures, which in a leisurely, but nevertheless labor-intensive process floods the room. A flood that swells over several days, beginning with space-determining coordinates that slowly invade the space available. The gently flung-out lines begin at the pillars and niches, steps or corners and are propelled into the room, gathering an unimagined force and drive. The minimized graphic lineation and the smallest of expressive tools turn into a flat all-over that breaks around barriers. Gesture gains serial dynamism within the framework of the white cube and is bundled into a swinging, space-flooding motif. ‘