The Metropol theater, a muscular relic of Art Nouveau decadence in Berlin’s Schoneberg district, looms beyond the window of Daniel Richter’s studio, taking up most of the visible skyline. The studio is modest in size for an artist of Richter’s stature: it is not buzzing with artist assistants and interns, and it is no lofty warehouse. Wide stacks of catalogs stand behind his desk which looks out onto a wall where three large paintings hang. Before them is one paint-splotched yoga mat.
“The bigger the space gets the more people you need working for you,” Richter notes, sitting framed by a pot of herbal tea and a small bowl of nuts. “If I moved to a hangar, my paintings would look like stamps. I do not want to make seven meters painting. I want to stay solitary in this mix of music and literature, in a situation I can control.”
Featured Image: Jahresdaten meiner Langeweile (2023). Courtesy Thaddeus Ropac gallery, London, Paris, Salzburg, Seoul. Photo: Eva Herzog.
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