Translation into English of parts of the article "Zeichen und Farbe" written by Dr. Erich Schneider,
which appeared in the Schweinfurter Museumschriften 127/2005, ISBN 3-936042-10-1

... The artist (Cornelia Krug-Stührenberg) takes her themes not only from the realms of mythology, but also, and especially, from her intensive reflections on being a person.

... The human head and the human body are the main themes in Cornelia Krug-Stührenberg´s work. In particular, the artist is intensely concerned with depicting the human head, simultaneously the centre of understanding and of feeling. She frequently chooses long and narrow canvases, seeing these as "pillars". The artist thus emphasizes their emblematic, reduced form, at the same time drawing attention to the fact that the dimensions of the pillars have indeed "human" proportions, and that in the double meaning of the word...

Cornelia Krug-Stührenberg likes to use colourful surfaces for her engravings, using pulverised earth, rock or sand of varying colours and composition. In many cases, these can be made into a kind of paint, using a binding agent, and can be simply painted by hand onto paper and then, using a sharp stylus, the drawing can be engraved into the still solvent surface; indeed, in some cases the artist moulds into the surface.

This kind of artwork has its own special aesthetics: the simple materials, associated with the earth, and portraying by using just one´s hand or fingers, creates something that is like an ethnic aura. Together with the profile figures that are swiftly engraved: "moulded", we can indeed be reminded of prehistoric rock engravings or cave paintings. Indeed, the artist does allow such associations. In works produced in 2002 and 2003 such as "homo sapiens" or "quo vadis", an arch is drawn that extends back to the early history of expressions of human culture.

However, the artist combines these engravings sensitively with colourful elements. This can be the soft modulation of the sand or the earth used, but it can also be the additional, consciously chosen colourful accent. The colourful surface or the free drawing using the colours, delivers a drawing that abbreviates and abstracts. It is here that we see, yet again, that it is well worth studying the artwork carefully. In particularly sensitive parts of a painting, the artist shows how she well understands how to work in precious little experiences of colours into her grand orchestration. The form that has become a symbol has now taken on a new dimension, that of the resonance of colour...

... Profiled figures and dancing movements initially create suspense in the observer, attracting him or her to the artwork. Indeed, the artist once, in 2001, entitled one of her works "Spannungsbogen", an "arch of suspense": this is a paintbrush drawing and engraving on paper, in which a semi-circular line follows the hefty movement of a figure that is striding forwards, far away. This is one´s first superficial view. Venturing a second view, you can often discover various different colours and surfaces, one on top of another, in these drawings and on the canvases. What is special is the glazing in the colour application, with which the artist has transposed her experience with watercolour painting into this new technique. In doing so, the artist is able, on the one hand, to unite the individual surfaces to a harmonious whole, and on the other hand, allows the eye to penetrate the picture right down to the "ground".
As a painter, Cornelia Krug-Stührenberg applies the colours both powerfully and, at the same time, sensitively. In particular, the wide range of reds and blues allows her to create intensive moods which the observer responds to directly. At the same time, the artist is an accomplished graphic artist who is exceptionally able to choose from a wide range of figurative vocabulary. The type of wet-on-wet graphic representation or engraving which hardly allows any corrections can be considered as an almost meditative act. The artist has firstly to create up a certain prevailing mood regarding this or that theme, has to have allowed her inner eye to gain an unconscious idea with regard to the picture that is to be produced, in order that the drawing can then, quickly and briefly, flow onto the paper during a fortunate moment in time. Nevertheless, there always remains a mysterious aura of a more profound layer in this dialog , an aura which will richly reward the observer who enters this dialog.