M16| Friday, March 20, 2020 THE WALL STREET JOURNAL.
in 1998. I finally had become the
artist I wanted to be.
Today I live in the Friedrichshain
section of Berlin in a 4,500-square-
foot, L-shaped bungalow that is a
former grocery.
The front has large windows
and faces an internal garden
where I planted apple, plum,
cherry and pear trees, as well as
antique English roses. The scent
is an intense perfume.
I think my mother likes my
large works. She’ll look at a piece
and have good questions or say,
“Hmmm, that makes me think.”
She’s mom-critical.
—As told to Marc MyersKatharina Grosse, 58, is a painter
of large-scale in-situ works
sprayed onto multidimensional
surfaces, architecture and land-
scapes. Five of her paintings and
an installation are on exhibit at
the Baltimore Museum of Art
through June 28. The museum is
closed through April 12.MANSION
M
y relationship with
color began in
front of a mirror.
Growing up in Ger-
many in the 1970s,
I loved wearing boldly colored
clothes—orange trousers with a
yellow shirt and a green sweater.
My mother lost her father in
WWII and lived with a wealthy
family when she was young. Later,
the family gave us two sets of col-
orful clothes—one for my older
brother, Max, and one for me.
Max’s clothes were passed to me
and mine passed to my younger
brother, Hans.
For the first four years, my
family lived in Freiburg in a beau-
tiful apartment with wood floors,
high ceilings and little balconies.
My grandfather lived with us.
My father, Siegfried, was a lin-
guist. When I was 5, he became
first chair of the linguistics de-
partment at Ruhr University, so
we moved to Bochum.
My mother, Barbara, was an
artist. She painted and made
beautiful etchings. She gave me
and my siblings art supplies as
gifts and was very encouraging.
Our Bochum apartment was in
an area where families had a lot
of children. When playing, we
were always a mob of about 30
kids moving through the streets.
When I was 12, we moved to a
house in a suburban part of the
city. I began making large paint-
ings on the exterior walls of our
garage. My mother encouraged it.
I painted soccer players and goal
nets. As a child, I played sports
and loved capturing body move-
ment in drawings and paintings.
My father was a great story-
teller. He’d tell us epic tales in
parts each time we went for a
walk. Learning was very impor-
tant in our family. My father be-
lieved that what you learned
FROM TOP: © KATHARINA GROSSE/ARTISTS RIGHTS SOCIETY (ARS) NY/VG BILD-KUNST, BONN/MITRO HOOD (PHOTO); GROSSE FAMILYcouldn’t be taken away from you.
HOUSE CALL|KATHARINA GROSSE
Trigger-Happy and At One With Color
The German artist always thought big, eventually dropping the brush for a spray gun
KATHARINA’S VISION
Why paint with a spray gun?
It’s fast, immediate and ampli-
fies my presence.Hidden meaning?None at all.
Colors are vivid and appear in
multiple layers. Pieces are
meant to be experienced emo-
tionally.Most mysterious color?Pur-
ple. There are so many sub-
tones—blue, green, black and
others.
Do you plan pieces?Ihaveto.
I don’t work alone. I have peo-
ple who help me. We work out
the logistics.Logistics?Which colors, how
much paint to order, what to
paint on and equipment.In college in Bochum,
I studied art history and
English language and lit-
erature. Eventually, I
discovered an art center
on campus where I
could take sculpture,
photography and paint-
ing. I began studying
painting. During the af-
ternoons and evenings, I
painted and drew.
Then, I attended the
Münster Academy of
Fine Arts, where I ex-
perimented with spray
paint on paper.
At some point, I felt my growth
was hindered by painting only
what I could see. I transferred tothe art academy in Düsseldorf.
After my studies, when I was
29, I traveled to Marseille, France,
where I was invited to join an art-ists’ cooperative. I met a
guy there who had a
compressor and a spray
gun. He encouraged me
to try it.
I didn’t like it much
at first. Between the
mask and the noise of
the compressor, it
seemed overbearing. But
I loved how the paint
could be applied and
how it sat on the surface
when sprayed. There
were tiny bubbles that
made surfaces look like
sandpaper. I stuck with it.
The leap from the brush to the
spray gun was instant. My first
spray piece was called “Inversion,”Katharina Grosse, above, at her exhibition ‘Katharina Grosse: Is It You?’ at the Baltimore Museum of Art, and, below
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