Bara Lehmann-Schulz utilizes the aura of used and discarded material to tell stories from long-forgotten times in her art work. Collected or self-made residues from diverse origin, such as coffee, tea, brickdust, greenspan, rust, or ashes are collected. The objects materials are mounted in and upon a board-like body of cellulose and dried slowly in sun and air, by which process the object materials take up a particular aura (…)

In another series of work, Bara Lehmann-Schulz prints classical objets trouvés into the pulp. Here you can find exotic leftovers like sea urchin pickles, amber, splinters, rusty iron and textiles from her own worn clothes. In this context, the following aspects of creating an object can be named:
The object support (cellulose) is an important part within the materials forming the overall ‘picture’.
The process of clotting generates congestions, folds, faults, the drying process generates clefts and ruptures.
The pasty surface is used for generating imprints.

The individual aspects are not arranged in an obvious logical context, they rather interact with each other and thus exhibit a joined impact, which is a characteristic feature for the selected ‘open process’. All art objects created here share a narrative face, they are formed by their history and can be perceived as symbols. These aspects exhibit a close inner relationship: the objets trouvés are important, forming pictographic sequences which talk to the eye and preserve time. A moment in time is taken out and encoded. Recognition of this moment is thus focused on the object and on the individual searching for it.

These aspects exhibit a close inner relationship: The objects trouvés are outlines of personal problems and they utilize the narrative character of different materials without being restricted to this level. The viewer may recognize more general meanings positioned outside of the considered object but somehow realized within. In this way they confer transparency to our culture. Thus, the work in this exhibition is simultaneously subjective and objective, poor and aesthetic, the result of intuition and of a plan. Instead of selecting and emphasizing a single property as art these works are aiming at some general properties, possibly promoting reflections. Over all these ruins, remnants, and leftovers give rise for determination of one’s own personal position.

Extract from a text by Werner Marx, 2002