Contradictions can learn to dance. Seductive Disaster is what Natalie Wood, a New York City painter born in Las Vegas, calls her first solo exhibition in Berlin. The artist continues her investigations into the relationship between structure and chaos in her current paintings and latest sculptures in a disturbingly fascinating manner.

In the end the images produced by this Art Institute of Chicago graduate provide a sense of ambivalence about the distressing that is similar to the works of William de Kooning, Joan Mitchell, and Roberto Matta. Her work portrays what J.G. Ballard seemed to say in Crash: in a real disaster luck is a rare quality. The artist's bizarre aesthetic formations reproduce all of the risks and side effects of our accelerated and overly mechanized age and using them as symbols of our own hubris feels only logical.

Thus the artist in a lengthy process of stacking plane upon plane in her mostly large-sized paintings dissolves clear perspective again and again and creates such an intensity of color tension that finally only that fraction of a second becomes visible when worlds collide and collapse and set up a new balance between chaos and order.

Her sculptures are meanwhile a step further; these creatures floating in space remind one of mythical creatures or submarine life forms with clear geometries and free form appendages in equal number. Created from objects the artist discovered in the streets of Berlin, her part time home, the work is built from the PVC legacies of our civilization. They exist between that oscillation of beauty and terror that leads the artist to another Seductive Disaster and allows her to create and show works like "Robotic Leftovers of Chaotic Love Wars" at the Takt Gallery in Berlin for the first time.