Natalie Portner Book order

Set against the backdrop of a society obsessed with lunar travel, Natalie Portner stands out by rejecting the allure of the moon. Her journey explores themes of individuality and the search for meaning beyond societal expectations. As others chase celestial dreams, Natalie grapples with her own desires and the implications of her choice. This thought-provoking narrative delves into personal identity and the value of staying grounded in a world fixated on the extraordinary.

The book features fourteen exclusive images inspired by Natalie Portner's emotional journey through the visual representations of Mars captured by probes and rovers. These images evoke a deep connection to the planet, illustrating how distant exploration can resonate on a personal level. Portner's unique perspective invites readers to experience the beauty and mystery of Mars through her eyes, highlighting the intersection of art, emotion, and space exploration.

"It's all black and white", she told me, and that was a contradiction to what I up to now had seen from her work: large colored canvases, impressive colors, bright, somewhat reminding of Mark Rotko in power and intensity, but at the same time with an ease that was overwhelming at once, warmth and joie de vivre. But her sketchbooks were only black and white, the black of the pencil and the white, the parts of the page where the pencil had not left its mark. So from that point of view "It's all black and white" was correct. (Marcellus M. Menke on the sketchbook works of Natalie Portner) "Es ist alles schwarz-weiß", sagte sie mir, und das war ein Widerspruch zu dem, was ich bisher von ihren Arbeiten gesehen hatte: große farbige Leinwände, beeindruckende Farben, leuchtend, ein wenig an Mark Rotko erinnernd in Kraft und Intensität, aber gleichzeitig mit einer Leichtigkeit, die unmittelbar überwältigend war, Wärme und Lebensfreude. Aber ihre Skizzenbücher waren nur schwarz und weiß, das Schwarz des Bleistifts und das Weiß, die Teile der Seite, auf denen der Bleistift seine Spuren nicht hinterlassen hatte. So gesehen war "Es ist alles schwarz und weiß" also richtig. (Marcellus M. Menke über die Skizzenbuch-Arbeiten von Natalie Portner)