The artist works predominantly in the field of drawing and here above all in the technique of monotype. She uses fabric primed with oil paint, which is decisive for the fraying bundles of lines when drawing through it. The drawing is usually underlaid with gestural painting and sometimes also writing. The organization and convergence of the different layers of paint results in a dense pictorial surface, which is concentrated or dissolved by the flow of lines in the monotype. Black lines are the striking feature of Regina Hadraba's work. Individual strokes interweave to form a dynamic network of images, which can be based on monochrome areas of color. The result is a powerful interplay between line, surface and color. The artist often processes impressions from literature and transforms language into impressive, non-verbal pictorial worlds.

Regina Hadraba attaches great importance to confidence in dealing with the material, the aspect so often neglected today of being able to penetrate ever deeper into the material through repeated practice, being able to work on it and the resulting quality. She has therefore refused to follow the artistic zeitgeist for years and meticulously pursues everything that can be achieved with the monotype technique, which she did not invent but has greatly expanded:
Be it working on the most diverse grounds -  carefully selected, partly self-made, painted or unpainted papers, as well as book pages, cardboard, canvases, acrylic glass plates - or the application of the monotype in a spatial context as a wall installation (Galerie Hrobsky, Vienna_2004_DVD) in the extension of the drawing into the third dimension!

Everyday objects familiar to us such as stones, flags, gloves, rice or fruit are recurring motifs in Larissa Leverenz's pictorial worlds.
These are prominently presented and charged with new meanings.
What the objects used have in common is that they already have their own symbolism and history. The motifs can thus be grouped into categories such as staple foods: rice, potatoes, coffee beans, grains of wheat or symbols of human triumph, such as flags, laurels, gloves, etc.
This familiarity makes it easier for viewers to immerse themselves in the pictorial worlds, as they oscillate between realistic and absurd moments, similar to our dreams.
Larissa Leverenz prefers to work with the medium of wood as a picture support, as wood also carries a story within it and the fine grain remains partially visible, so the wooden panel contributes aesthetically to the picture.
In her new series of works “May it's time for an Update?”, the artist uses a similar strategy. In the past, the motif of the banana has often been used spectacularly by prominent artists in the art world and has a strong symbolic connotation. As the artist neither shares this prominent status nor can identify with it, but rather demands her own interpretation, the bananas in particular provoke an irritating reaction, which is further supported by the title of the series, which is formulated as a question.

“Drawing requires attention, and that is the highest of all skills and virtues.”
[ Quote from Johann Wolfgang von Goethe ]
In the early 1980s, Leena Naumanen chose wood as the starting point for her works. But not just any wood forms this basis:
It has to be a roof shingle - preferably a Finnish one. She relieves this geographically and historically charged material of its original task and use, giving it a new function. Leena Naumanen succeeds in giving a new, solid existence to the existing, actually discarded - and thus entering into a profound dialog between permanence and change - between yesterday and tomorrow.
“It's important for me to go deep!”

This sentence ran like a thread through a conversation. And when you look at her works made of roof shingles and linen | wood and engage with them, it becomes clear what is meant. She often paints the pieces of wood with watercolors, which further emphasize the communication between the shingles and their texture. The wood lives on in the works, it can be touched, changes depending on the incidence of light and reveals new structures from different perspectives.
Finally, her drawings are a congenial accompaniment to her sculptural work. For on closer inspection, the essential material of the work, the shingle, has an extremely fine-fibered structure, which Leena Naumanen seems to be able to transfer into her finely dotted pen and ink drawings, thereby unleashing a strongly rhythmic process that only reveals itself in its complexity on closer inspection, but then manages to captivate the viewer. In her new drawings, she combines material and line in an exciting interplay.