The works of Lehmbruck fellow Erika Hock, born in Kyrgyzstan in 1981, mostly originate in an involvement with architecture. They are both referential and autonomous, either dealing directly with the situation of the exhibition or translating cityscape forms into the exhibition space.
These can be details like the graphic properties of cable-stayed bridges or structures that are less evident at a first glance like the ground plan of the Barcelona pavilion by Mies van der Rohe. From the latter the artist borrowed all horizontal lines in order to assemble them into a new architectural form made of glass plates. In another work she transforms the famous Dreischeibenhaus in Düsseldorf - analogous to its function within the cityscape - into a room divider with applied wooden strips. Erika Hock thus comments on modern architecture's modular interior design and counteracts modernity's ambition for the disengangement from ornament.
Due to material and form Erika Hocks objects and installations sometimes convey an architectural impression, sometimes they evoke connotations of interior decoration. Thereby they often appear playful and assume the character of design or fetish. Her works can be regarded as both homage and caricature, they idealize and elucidate at the same time.
For her exhibition in the LehmbruckMuseum the fellow deliberately chose the basement, a flat room with dark ceiling boarding. By means of her installation and her objects she intends "to activate the room's cabinet-like character and to comment on the museum's exhibition architecture." However, the works on display are also based on a preoccupation with architectural models as autonomous objects and their mode of presentation. Showcased on tables, these so-called "Shifters", which, owing to their modular structure and size, could be models for pavilion constructions, become staged objects, independent from scale, that are reminiscent of fanfolds or houses of cards.