Regina Hofer’s drawings are grounded in the balance between the representational nature of the figure and the autonomy of the line. Her stroke spans a wide range: trembling, delicate, dense, hatched, or curled. The drawn line creates formal elements that coalesce into larger figurative compositions—seated figures, portrait busts, or fragments of the human body. Hofer lends her works a psychological undertone; fragile creatures emerge, marked by the dissecting, scar-inflicting force of the line, often verging on deformation.

In Tobias Pils’s extensive series of images, the canvas serves as a direct equivalent to the wall. Onto this surface, the artist paints and draws, exposing the resistance of the taut textile. Pils works against both painting and drawing, giving them a rough and brittle quality. His formal vocabulary incorporates figuration, abstraction, and symbolic elements simultaneously. The result is a multi-layered fabric in which painting and drawing are held in dynamic suspension.