Cornelia Egli's paintings operate in the realm of the analogue. Through physical transfer, as with every creative act, sensations, impulses, and other motivations find their way onto paper or canvas. With her working method, she has created her own inimitable universe. Beginning with the material, which encompasses pigments, glues, wax, cardboard, etc., through to finished works that radiate unique effects in their appearance. Their content seems to be the paint itself; the visible elements within it could almost be overlooked, but should never be missing. Her practice is carried out with the utmost care, step by step, with pauses and hesitations given more importance than spontaneous expression. Nevertheless, moments of freshness and vitality are not lacking; rather, they seem to be sustained by maturity and contemplation. The mysterious effect emanates from a moment in this painting that is barely visible yet essential. In a ritualistic manner, Egli covers luminous areas of color with viscous, dark oil paint, which she then washes clean again. The restrained effect of the colors is not planned in advance, but rather develops in the process. The shadow or a kind of patina creates the magical moments of contemplation. Something was there, of which only traces remain, a breath whose history and essence the eye seeks. What is then found is something we have often experienced at the Mauritiushof: the long shadows of one's own memories and associations of personal origins that touch us deeply. When Cornelia Egli formulates something she wants, then perhaps it is precisely this. The working steps in Egli's painting practice are close to existential themes of life: becoming with all its crises and moments of change, irregularities, and a great principle of order that sustains and integrates them.

In the exhibition "unSICHTBAR WAHRnehmen" (percieve invisbly) at the Mauritiushof, these effects have been explored in many ways. From a mirror for individual projections to a lively discourse on emptiness, the near nothingness that is always also something. Egli's paintings also offer a unique opportunity for meditation and devotion. They seem to come to life anew when exposed to silent contemplation over a longer period of time. The resulting inner dialogue enlivened the viewer in a touching way. The secret of Egli's work probably lies in the same primal source as the aesthetic principles of ancient Japan and Zen practice. The practice of life becomes art. The given - the personality, the necessary - the development and experience - the crises and challenges - determine mastery. In this sense, my eulogy is a tribute to a woman who lives what she is and paints what she lives. No page fits in between. One can look forward to developments that embrace Egli's valuable potential and wish her space and time for this.

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