{"id":9730,"date":"2025-02-10T18:01:36","date_gmt":"2025-02-10T18:01:36","guid":{"rendered":"https:\/\/ato.vision\/magazine\/?p=9730"},"modified":"2025-02-10T18:24:23","modified_gmt":"2025-02-10T18:24:23","slug":"in-the-studio-with-charlie-stein","status":"publish","type":"post","link":"https:\/\/ato.vision\/magazine\/in-the-studio-with-charlie-stein\/","title":{"rendered":"In the Studio with Charlie Stein: Redefining Femininity Through Latex and Lucky Cats"},"content":{"rendered":"\n

When I arrived at Charlie Stein\u2019s apartment, the evening was already settling in. A mellow soundtrack played in the background, and the warm scent of an Acqua di Parma candle filled the space. Dressed in chic loungewear, her signature hairstyle perfectly intact, Stein exuded the understated cool that defines both her presence and her work. As she handed me a cup of her favourite tea\u2014a soothing blend of liquorice, fennel, ginger, and thyme\u2014I took in the surroundings. The space felt like an extension of her practice: sleek yet playful, with hues of pink and purple weaving through the modern decor. <\/span><\/p>\n\n\n\n

With my tea in hand, she led me to the back of her apartment, where her studio is located. \u201cI have to apologize that I haven’t made it pretty\u2014I was so tired after the photo shoot,\u201d she said. I found this amusing because, to me, it looked great. The contrast to the rest of her home was striking. Gone was the warm, ambient glow that filled her living quarters; instead, a harsh, clinical white light flooded the space, designed for functionality rather than comfort. But somehow, the intensity suited the paintings on the walls\u2014shiny latex bodies clutching syringes, glossy black and silvery pink puffer jackets, polished black lucky cats. The studio felt raw and in tune with her work.<\/span><\/p>\n\n\n\n

Charlie and I had planned our studio visit on short notice as the paintings that hung before us were just days off from being shipped to London for her next show with Kristin Hjellegjerde Gallery at their Wandsworth location. The series is made up predominantly of womanly latex figures with syringes, either holding them or injecting them into themselves at various spots across the body. Fertility treatment and artificial insemination are at the core of the series, a topic which I\u2019m told is deeply personal to the artist. \u201cI thought it\u2019s really interesting because [fertility treatment] is kind of like all the hormonal responses that you have when you’re having sex, but it’s completely medicalized,\u201d she says. \u201cI thought there is something so weird about that, and I think that’s why the fetish surface matches it so well.\u201d<\/span><\/p>\n\n\n\n

One of Charlie\u2019s main intentions with her work is to lure people into the viewing experience while simultaneously keeping them slightly on edge. \u201cI wanted to have [the paintings] enticing as if they were talking about sex,\u201d she says, which on first glance is an easy reading to make of a material with such sexual connotations. \u201cBut at the same time, it’s the opposite of having sex. It’s like inserting some awful movement into your body.\u201d She chuckles for a moment before adding, \u201cbut I guess you also need to be a little bit afraid of syringes to be a part of that.\u201d<\/span><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

 \u00a9 Studio Charlie Stein, Thesmophoria (Phase VI)<\/em>, <\/em>2024. Foto: Roman M\u00e4rz (VG Bildkunst)<\/p>\n\n\n\n

The series also includes figures locked in tight embraces, wrapped in oversized pink or black puffer jackets with their faces completely concealed in a way that immediately brings to mind Ren\u00e9 Magritte\u2019s The Lovers. While the gesture suggests intimacy, the obscured faces introduce an unsettling sense of suffocation. \u201cIt\u2019s all about obscuring the figure, which is a bit weird because other works I\u2019ve done before, they had big eyes and they were kind of in your face, almost like manga characters in anime,\u201d she says. <\/span><\/p>\n\n\n\n

Curious about this shift in style, I asked her to dig out an old canvas. She pulled out a painting from <\/span>Unimate<\/span><\/i>, a past series where female robots with wide, doting eyes locked onto the viewer. The robots were named after a 1960s robotic arm from General Motors, and represented a kind of feminist take on a dystopian future. \u201cThis was before AI, so it’s kind of freaky,\u201d she laughs. \u201cThey\u2019re smoking, in Paris, and abandoning their chores and real life.\u201d <\/span><\/p>\n\n\n\n

Painting wasn\u2019t always Stein\u2019s focus. She started out instead by studying conceptual art. Leading me out of the studio and back into her living space, she rummages through a cupboard, searching for a model of an old sculptural piece. When she finds it, she pulls out a shoebox-sized version\u2014an endearing miniature, each tiny element like pieces in a dollhouse. \u201cIt’s a playground where everything is safe,\u201d she says. \u201cI have a slide that’s on a zero-degree angle, just flat like it had given up. And I decided to paint it white because I thought that was very soft and minimal.\u201d<\/span><\/p>\n\n\n\n

She scrolled through her phone, showing me photos of the full-scale version\u2014an installation that looked like the most dejected playground imaginable. All handmade, she tells me, though always a nightmare to set up. Still, the piece made its way into three exhibitions: a summer show at art school, a museum, and a biennial\u2014an impressive trajectory for such an early stage in her career. But dazzling people was never the point. \u201cI didn’t want to make work that would just impress people. I also wanted to make work that’s personal,\u201d she says.<\/span><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

 \u00a9 Studio Charlie Stein, <\/i>Virtually Yours (Perfect Lovers<\/em>), <\/em>2024. Foto: Roman M\u00e4rz (VG Bildkunst)<\/p>\n\n\n\n

Her stint in conceptual art didn\u2019t last long. As graduation neared, she found herself drawn more and more to painting, discovering that it was the medium where she could access something personal. She told me about how an art world contact also once said, \u201cyou know, when you graduate, that’s the shit you have to do for the rest of your life.\u201d So, painting became the shit she would do. <\/span><\/p>\n\n\n\n

Her graduation show marked what she described as her \u201ccoming of age with painting\u201d\u2014a massive project titled Study for a Museum Display. Through months of research and experimentation, she reworked the interior of the Villa Merkel in Esslingen as a riff on the old French salons\u2014traditionally very masculine environments. She wanted to parody that history, creating a show that mimicked \u201csome male genius.\u201d To do this, she framed her paintings in gold or heavy frames and covered the walls with patterned wallpaper\u2014which, upon closer look, was actually a kaleidoscopic print of her own face. It was like her way of playing with art history while asserting her own voice within it. <\/span><\/p>\n\n\n\n

The paintings in the show established the beginning of her portraits\u2014here, distorted faces were created by layering Snapchat filters on top of each other, resulting in bizarre, almost grotesque images. \u201cPeople were really weirded out by them,\u201d she says, laughing. But looking back, she\u2019s immensely proud of what she created. \u201cI had really thought this project out to the maximum because I wanted to have the license to paint after this,\u201d she reflects. \u201cI was really happy with that show. And that\u2019s how I started painting and then I didn\u2019t stop.\u201d<\/span><\/p>\n\n\n\n

As our conversation wound down, Charlie turned her attention to what lay ahead. She pulled out miniature models of each of the galleries she was set to exhibit at, carefully holding them up for me like pieces in a set design. Pointing to each space, she walked me through her plans\u2014how the paintings would be arranged, how the visitors would interact with the space, how the atmosphere of each show would take shape. With upcoming exhibitions at Kristin Hjellegjerde, Kunstverein Schorndorf, and Kunsthalle 2 in Mallorca, she had a packed schedule ahead.<\/span><\/p>\n\n\n\n

Heading out\u2014me off to whatever opening was happening that night, Charlie settling in for a well-deserved night off\u2014I found myself grateful to have caught her and her work before they moved on to the next stop. It\u2019s easy to forget the feeling of being truly engaged with an artist and their practice, that rare spark when something really hits. But Charlie\u2019s work did just that for me. Even now, writing about it, I feel that same excitement\u2014for what she\u2019s made and for whatever will come next. <\/span><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

 \u00a9 Studio Charlie Stein, Kitty with Teeth and Pills (Still Life), <\/em>2024. Foto: Roman M\u00e4rz (VG Bildkunst)<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

From fertility treatments to puffer jackets, the Berlin-based painter is challenging perceptions of womanhood in contemporary art.<\/p>\n

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