Katja Pudor works at the interface between drawing and performance. In the sound-based drawings, Pudor examines the effect of sound/tone: what is the relationship between sound and the body and its tension on the sense of hearing. How does the body, which itself is a resonance body, relate with one another with its internal vibrations and external tensions? 

The format of the performance enables her to make processes of visual action directly visible in their temporal and spatial dimensions. The performative-drawing process is the connection of now-states that come together out of an inner necessity, out of direct perception. the concentration is exclusively on the upcoming actions.

“The architectural space is transformed into a drawing medium that transcends its own limitations and enables me, the person within it - the draftswoman- to explore my procedures: that one thing grows out of another, that the time curve bends and that the drawing anticipates or remembers in retrospect. This direct, process-like approach focuses more on experimentation than previously.”

In her artistic practice, Katja Pudor positions herself in a field of relationships with others. She connects with other artists, with time, with landscapes and with architectural places. “Whoever appropriates the other does not remain the same. Acquisition brings with it a transformation of the self. Not only the subject of appropriation, but also the appropriated other is transformed.” (Byung-Chul Han)

This quote describes her attitude.