About the paintings:

Here are some words Sebastian Johans wrote for 10.ax catalog last year;

Caroline Pipping has often made two statements in one and the same picture. Simpler template-like images representing the same thing have been applied alongside or on top of relatively naturalistically interpreted motifs. The representing and the represented, the symbol and the symbolised, side by side. Or perhaps a way of making it clear that everything in the picture is significant. A depiction can never be anything other than an illusion. No meaning is fixed.
Even when Pipping is not working with twinned picture surfaces there is a complexity to her pictures that takes us away from the epic, linear storytelling that the figurative motifs promise the viewer at first glance. The pictures openly declare that they require something from the recipient, that they are not just providing an opportunity for contempletion.
Similarly the people who appear in Pipping´s pictorial world are marked by a strange alienation, in the same breath both supremely independent and nakedly seeking contact. They are perhaps not lonely, but solitary and in need of a context and relationships that are not always describable. Ambivalence is a fundamental condition.
Recently, Pipping has made a move towards a greater degree of abstraction. In a series of pictures starting from the shape of a seed case she has worked herself into a realm in which the motifs can almost be described as free associations taken from the world of micro-organisms. But the same narratives are alive here too. Life mirrors life. And it does not end here. Pipping´s various perspectives are there to illuminate a path that is broader than the stringently defined track beaten by our western civilisation, which has arbitrarily set up its own tradition of thought as being the only wisdom.