The sculptures of the PX series, which Dorothee Golz began in 1989 and has been working on ever since, draw inspiration from everyday objects from the artist’s surroundings. Selected features or set pieces are then combined to create new objects. Features such as the surface finish, colours or tactility of previous sculptures are merged with later works, ensuring the ongoing development of the PX series from generation to generation. Dorothee Golz sees it as an evolutionary process, to be interpreted as an analogy to human genetics and Mendel’s laws of heredity. The complex “family” relations of the PX sculptures are shown in a specially developed computer programme, similar to a family tree.

— Magdalena Koschat

The “Life Concepts” by Dorothee Golz often show tables with chairs, set with plates, cups and crockery that have fused and that confront viewers with interpersonal relationships, life concepts and their own individuality. The outline of the tables and chairs are often sketchy and consist of thin, welded iron rods. These lines, reflective of the artist’s passion for drawing, are transferred to the sculptural plane. This “Life Concept” shows a single table and chair, again representing a relational message. The emptiness and loneliness during “Corona Isolation” are brought home in a powerful way, despite – or maybe because of – the sculpture’s sketchy fragility.

— Magdalena Koschat

The Madonna's is directed downwards, her head inclined, her posture graceful. However, the delicate hands do not tenderly hold the baby Jesus, but rest against a designer dress. The contrast between the fashionable clothing and the symbolism of the Madonna draws attention to the role of women in society, a topic which the artist explores in her digital paintings. 

— Magdalena Koschat

The historically influenced view of the role of women and the present-day depiction of women in women's magazines inspire Dorothee Golz to play with contemporary clichés. In this work, the artist depicts a young lady from the 15th century wearing a sophisticated mini-dress and valuable accessories against a rustic background.  The proud, inflexible gaze of this fine figure rises symbolically above all the time traveller's compulsions.

— Magdalena Koschat

The artist's 'digital paintings' draw on classical portraits by the old masters. She superimposes the historic faces onto her photographs and places them in a modern context. In this picture, a young man painted by Hans Holbein the Younger in 1533 appears as a fashion-conscious exhibition visitor against the background of Cy Twombly's gestic-abstract contemporary art. 

In Granduca, the historically defined ideal of Marian beauty embodied by Raphael's famous Madonna takes on a new form. Constructed with meticulous attention to detail, Dorothee Golz positions her new interpretation in front of a copy of the original picture, which surrounds her like a halo and gives her a new, iconic aesthetic.

— Magdalena Koschat