"Ulrike Theusner has an unusual talent for the art of drawing. Her ability of a strong graphic perception is coupled in her work with an equally strong imagination. What is seen is effortlessly translated into graphical traces, which have a high recognition and identification value. At the same time speaking of the scenes of her "studies or observations", i.e. the processing of each viewed case, in which she converts, without distinction into "ingenuity" culminating with the fruits of her imagination- or pictorial inventiveness. And even a third degree of her unique process is added: The graphic marks that have the high degree of her self-referentiality. To me they seem to a large extent formative, so much that I can hardly escape the fascination of their form. In this sense, every "study or observation" appears with its own autonomous aesthetic recognisable of its superfluous characters that remain recorded . Her works make me think of the classic of psychologizing drawing and to the artists of the Renaissance and Baroque. “

Ulrike Theusner’s drawings, graphics, paintings and installations are superb, no matter what technology they exert, or what subject they are dedicated to. Ulrike Theusner is one of the few exceptional talents in the visual arts that we must get to know as an art historian. An artist, one of which it is hoped that they not wasting their talent on anyone and anything except for creativity, least of all the modes and arbitrariness of the art market.

Leaving aside the individual series that have arisen in recent years, her next works show a unequivocal exuberant wealth of subjects which unfold from the tension between travel and retreat. "I have to leave first to be in the wide world, and finally return back to my autistic home ... In my little windowless studio ....", She wrote on a sheet of her journal "New York Diaries", when she was traveling in New York in 2009. All was observed and written down, from the grotesque to the also very acute scenes of the fascinating metropolis - from the flair and lightness, strange couples, broken lives, junkies and street musicians to New York artists. One gets the impression that she constantly scans,  observes and digests all that she sees,  penetrating visually and atmospherically into the fleeting scenes of the day, and brings it in together in her own style, slightly anxious, yet very precise observational drawing. The images are bizarre, sometimes realistic, as if seen by a never before hallucinating inner eye, sometimes things even seem more realistically portrayed than what it is modelled in reality itself.

Basically, my work consists of exposing a mental world. I'm assimilating reality in an expressive, elementary way. Things around me, that I see, sketch and collect during traveling, in TV, magazines, catalogs, publicity or the world of popular culture, people I meet - everything can inspire me, everything could be sketched. These quick pencil sketches with diary character are often the base of ink drawings or paintings. Just playing around is one catalyst for creativity. Little monsters and puppets, kid masks, weird worlds and fictions - sometimes kid toys are my models for paintings and ink drawings. They help me create the opposite of the 'hortus conclusus' by revealing a false, illusive idyll."