In the exhibition On Set, artist Miriam Beichert presents a series of “character fragments” suspended between the virtual and the real, between consumer imagery and intimate experience. Through painting, she constructs a visual space that captures overlooked moments and psychological impressions from contemporary life—fragments that linger somewhere between recognition and estrangement.
Born in 1999 in Mosbach, Germany, Beichert currently lives and works in Stuttgart. Since 2022, she has been studying under Daniel Richter at the Academy of Fine Arts in Vienna. She previously earned a BFA from HKDM Freiburg. In recent years, her work has been shown widely across Europe in cities such as Copenhagen, London, Berlin, Antwerp, and Lausanne. In 2022, she received the City of Freiburg’s Award for Fine Arts, marking her as a significant voice among the new generation of German-speaking artists.
Miriam Beichert
Original, 2023
Acrylic on canvas
35h x 25w cm
© Courtesy of the artist
Beichert’s practice centers on how visual memory functions in an age of rapid acceleration and image saturation. Drawing from both physical and digital environments, she incorporates found elements—plastic fragments, low-grade printed matter, screenshots, disposable packaging—into her work as raw material. These visual remnants are translated into layered, often fragmented compositions that suggest glitch, blur, or incomplete transmission. Her canvases function like sites of interruption, where the surface of the image becomes a place of emotional charge and material ambiguity.
Miriam Beichert
Shorts, 2023
Acrylic on canvas
55h x 45w cm
© Courtesy of the artist
“Influential for my work are the aesthetics of consumerism and pop culture in correlation to the age of the Internet. I paint and translate what I consume and what I’m surrounded with in my everyday life—physically and digitally.” As Beichert describes, her paintings serve as a kind of translation process—between online and offline, presence and image, experience and cultural reference. Her work inhabits a space that feels both strangely familiar and subtly disorienting, echoing the visual overstimulation of the contemporary screen-based world.
Installing view of On Set, Aug 2, 2025 - Sept 14, 2025, Nan Ke Gallery, Shanghai © Courtesy of Nan Ke Gallery
In On Set, Beichert’s compositions evoke a kind of post-consumer stage design: scenes that appear to be lifted from deleted advertisements, frozen video frames, or background characters from an unfinished script. These images—ambiguous, anonymous, sometimes almost absurd—are granted emotional presence and compositional weight. The figures and objects she paints seem paused, waiting to enter the narrative, like stand-ins in a scene yet to begin. Her canvas becomes a set in itself: a site where cultural detritus, affective memory, and speculative storytelling coexist.
As both observer and editor, Beichert treats image-making as a way of intervening in the flow of visual culture. Her delicate brushwork and dislocated forms hint at suppressed narratives and unseen connections, offering painting not just as representation but as a site for renegotiating how we perceive, feel, and inhabit images. In her work, the “set” is not a fixed scene, but a moment of potential—where image, memory, and meaning are in flux.
August 7, 2025
