Pferdchen, Pferdchen is a series that Anouk has been developing since 2014. From works on paper to painting and shaped canvases, the series is visually reduced in color, and its formal language is simplified so that the motif exists on the threshold between figuration and abstraction, bridging these two worlds. The series depicts horse embryos in an embrace.

Only 1–2% of all pregnancies in mares result in twins. Of these, around 99% are dizygotic, while less than 1% are monozygotic. The motifs in the series also evoke Yin and Yang. Originating from Chinese philosophy, Yin and Yang describe two opposing but inseparably connected forces of life.

In this way, a rare biological constellation becomes an artistic image of connectedness – two beginnings that do not struggle against each other, but support one another. Like Yin and Yang, the pair carries not only opposites within themselves but also shared qualities. Neither exists without the other, and yet each possesses its own form, its own rhythm. The embrace conveys not loss, but trust – a quiet understanding between two beings developing in the same space.

Pferdchen, Pferdchen reflects the duality of the world. Yin and Yang need each other – without one, the other cannot exist. Within every Yin lies a small part of Yang, and vice versa (as represented in the dots of the symbol). They constantly transform into each other. Harmony arises through balance. Yin and Yang are not separation, but symbiosis; not opposition, but coexistence. Pferdchen, Pferdchen becomes a reflection of that balance – a delicate mirror of the forces that sustain all living things.

Here, art becomes a mirror of the balance that sustains all living things.