Who actually claims that painting is a silent medium, sculpture cannot be warm, but that metal or stone remain cold, or that graphics are grey and printmaking is grey, cold, soundless and colourless?

Printed graphics is one of the most exciting endeavours in all the magic of art: loud, velvety, warm, and of course colourful as is not to be desired more intensively. Mind you, we're not talking about colour graphics, but black and white print graphics, just as a sheet of paper is still or just metal often very cold.

Can't you hear the tiger breathing in the silent museum hall while looking at a primeval forest painting by Henri Rousseau, breathing heavily with its teeth on the antelope’s neck, hiding in the reeds like a breeze? You can hear it!

Matthias Dornfeld's lion purrs, like a bundle of joy, golden soft fur, contentedly resting and purring. You hear it, you reach with your eyes into the soft fur and hope for an even more sonorous purring.

This is also the case with the sawing sounds of the saw master on the woodcut by Dirk Zoete. The saw pulls cheerfully through the wood with long, finely jointed pointed teeth, the steady pull of the saw master will not cease, soft brown is the soft wood and bright blue his suit, in which he also makes the saw hum.

Merrily the satyr Marsias warbles his song on the flute with Ondrej Drescher's prints, merrily is the indeterminate and warmly the throbbing red blood of the unaware.

Monika Michalko's paintings house so many different collections of plants and objects, they develop the glamour and whimsical colour shift as if looking through a kaleidoscope, you are tempted to sway your head slightly to better imagine the colour nuances.

With a brief distraction, a look in the corner of the eye, you startle, everything printed, everything in black and white, but no, if you look again calmly, the normality of black and white print graphics reappears: Colour, loud, soft, colourful!