Anne Imhof

But then he was like seeing something in me that I completely didn't.

So he was teaching me after class and I had this like privilege of being like a couple of months

in the spot where I could have somebody who was like really interested in me getting better at something.

And he made me copy Michelangelo and Raphael and Leonardo.

Maybe that was part of the school's educational plan or something.

But it was so good for me that I saw I'm succeeding in something and also learning about Michelangelo.

And I think that was also...

the historical artist figure that I relate most to because it just like copied him so many times.

And then I was intrigued that this person not only does drawings and paintings, but also sculpture.

And maybe I felt this like poetry and heart in the set.

There's something torn us in Michelangelo, maybe because he was gay or like there's something in it that was drawing me to him more than other artists from that period.

If I'm honest, I think the artists of the Baroque that I'm in composition a lot at, like especially Caravaggio, he wasn't even like the one of the period that was depicting the most movement or that he was criticized for things that were offensive to the people that actually gave him the commissions that weren't so clear to him or he's like always like said to be this,

rebel or tough guy.

But I think what actually interested me is like how he related to the spaces that he was showing and how he was putting the lights in his paintings according to the lights that comes through the church's window where he knew the painting was hanging later.

Like there was like a

complexity in the work and also how the figures almost like leave the painting like because there is a movement in the work that interests me and that I always relate to I think also Bernini or Michelangelo's Moses for example there is a movement in the sculpture that's almost like a hesitance if there's stillness or movement and I think maybe those early Baroque

figures were interesting to me because there is something that drew me to movement from the very beginning.

And I think maybe when I was in school in Frankfurt and Städel, there was the first moment where I had a brilliant teacher, Judith Hopf, who was actually maybe the person that teach me all about

You don't have to do one thing.

It doesn't have to look like coming from one person.