Colours in Motion! The title says it all. The exhibition is colourful, vibrant, refreshing, tactile, beguiling, funky and a little exuberant. That's how it should be - that's what autumn needs.

With Susanne Thiemann we present a unique artist. After gaining her master's certificate as a basket maker, she opened her own workshop 35 years ago, which only a few years later became the studio for her first sculptures and objects. And then as well as today, they all have one thing in common: they are woven.

The material was and still is recycled goods. By chance, Susanne Thiemann discovered a large stock of colourful plastic tubes that were used in the 1960s and 1970s for the production of then hard-edge modern chairs and loungers. The easy plasticity and flexibility of the tubes was ideal for weaving and the colours fascinated her: warm ochre, sky blue, pink, bright yellow and rich cherry red.

This fascinating interplay of industrial materials and traditional craft techniques is a characteristic that runs like a thread through Susanne Thiemann's artistic work to this day.

Her early sculptures are swaying, heaving creatures that grow gleefully upwards and seem immensely sensual with all their soft curves.

And then came New York and sensuality became funkiness.

With a scholarship in her pocket, she crossed the pond to the centre of the art world.

As a student at the ISCP and frequent guest at the Louis Bourgeois Salon, she experienced new horizons: the joy of experimentation was tremendous, art wherever the eye could turn... Susanne Thiemann experienced a vibe that cried out for new directions. In short: New York set impulses.

Closed sculptures were a thing of the past. They had to open up. Her sculptures became more and more "open".  D They "frayed" everywhere. Coloured plexiglass, everyday objects like lampshades were incorporated or squeaky-coloured expanda ropes became extended arms. Her new sculptures hang from the ceiling, are draped over chairs, tables or trestles. Many of her sculptures became portable "fitted pieces", which is why Chris Dercon called Susanne Thiemann the female Franz West.

The works in the "Colours in Motion" exhibition continue along this line.

Through it all, she always remained true to her craft of weaving. "Persistence" is what the New Yorker would call it. We call it steadfastness and consistency. That was not always easy for her, but today it proves her right. Because "yesterday" the fusion of art and craft was still unheard of. 'Today' it is common practice: fabrics and textiles, embroidery and sewing, weaving and knotting - it is all omnipresent in the contemporary art landscape, as if it had never been any other way.

Susanne Thiemann was ahead of her time in her way of thinking and working, and at the same time she anticipated something that could not be more contemporary: Her open works that extend into space stand for the fact that the old must be broken open in order to be able to form the new. Thinking of the "world" needs a reorientation. As individuals, we have to think around the corner in order to make more dynamic, more vital connections possible.