A. Even as a child, Koppenbrink found herself besides the crowd, curious to have a look at different positions. Very early, nevertheless struggling to be in consense with everybody, mainly with her parents sisters and teachers, she recognized the difference. Comparisons adjustied herself feeling an outsider, trying to come to an insight, - to a world transparency in a special way and with her growing wild methods.

So, at the age of about ten years, she mostly desired to be really old, aiming to get rid of all the frontiers, conventions and identity consuming violences. She thought it to be the only chance to come to her very special way of being in inventive liberty. Besides that, from the very beginning of her creativity as a violinist, she noticed the rectricting cruelty of „being liked“ to a position, you can´t escape from, once you are thrown out to it. From the part of her father, she was neglected and criticized a lot, which animated her to overcome, - but her mother used to manipulate her by pushing and flattering intensively, which she nolticed as a false estimation.

Her longing for space around herself was the key to her open sources, which accompanied all her life and was a solide ground for her existence as a musician, teacher and late coming out building artist and performer.

Nowadays, with the flowing time, and influenced by her travels, she notices new changing formal needs, structures and qualyties. Her rage, all the time active, is calming down somehow.-

Finally being where she always wanted to be, she opens herself to the other side of age,- the getting tighter space of physical possibilities which opens a new door to humour, sensitive open eyes towards unperfection and mankind understanding mentality.

Up to her end, conserving her content and formal stream, she would like to maintain this overcoming mood of clownesque wisdom, which transports all kind of possible artistic results, including formal risks, significant for her special way being „Koppenbrink“.

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