Until 2020, I mainly painted figuratively. After trying harder and harder to reduce, I came to a dead end, so to speak. Then I started something like a new beginning with the help of what is generally described as abstract painting.
Since I learned the tools of the trade, of course, I didn’t have to start from scratch. What has been added is the examination of the subconscious or archetypal ideas, as Carl Gustav Jung has worked through them well. Much of that is psychoanalysis in the broadest sense, a western approach.
In the traditional Chinese theories of painting, we naturally do not find any psyche-related approaches (those these are often hundreds of years old, long before there was psychoanalysis). And yet there are very clear overlaps and I am more and more fascinated by comparing and questioning these two approaches.
Works that arose from this reflection are those listed here. They are based heavily on Chinese thinking (especially yin:: yang, opposites, internal communication … ..), but also bring some aspects of Western psychology into play (driving forces, primal fears). Of course, we find these essential themes in every form of western classical painting, and especially in more modern ones, but it is my aim to try to broaden this point of view.
I have heard several times that my pictures are “beautiful” and exert a strong attraction, but they are also: frightening, brutal, threatening … and finally, I heard that they showed tremendous anger that must be inside me.
So, I think, I am on the right path, namely to trigger something in the viewer that is located beyond what is depicted.
But maybe my thoughts on it are void and my work is done if it remains that the viewer finds a picture beautiful.
My articles on Chinese art: the essence of Chinese painting. Related posting | key works post
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