For one of my exhibitions, which will be shown in Vienna next year, I chose the topic around covid-19. I think this is a subject that might be of some interest. We all suffered and still suffer from it in one form or another and so I thought that it might be of interest to see how a painter experienced the time, but above all how he implemented the phenomenon artistically.
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Today I'm showing you a sketchbook that I've never taken out of the drawer. Maybe for a good reason?
Actually, they are single sheets that I then mounted in a Chinese fan-fold album.
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Lately I've started some work on clouds. The point is not to represent different cloud formations true to nature, but to give the clouds a meaning that goes beyond "being a cloud". Poem by Berthold Brecht.
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Music is undoubtedly one of the most important driving forces in my painting. This tryptic is based on theme and variations influenced by calssical music.
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For many years I painted a self-portrait every year. I called the series "State of the Art". Unfortunately I stopped because I didn't want to be perceived as a narcissist.
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Since I'm not Chinese, one might wonder why I attach so much importance to this aspect of art. There are essentially 3 reasons: I consider traditional Chinese calligraphy to be one of the most challenging and superior art forms.
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I continue to paint a lot, but it's getting harder and harder to surpass previous work. Maybe they look pretty much the same for some viewers anyway. For me, however, it is about certain issues that I would like to perfect over time.
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The works from the series “gestural abstraction” now have content. No content in the sense that one is now figuratively led in a certain direction, but that psychological sensitivities or concepts from psychoanalysis are taken up.
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gestural painting, subconsciousness and archetypes in my series of gestural abstract paintings
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gestural painting, subconsciousness and archetypes in my series of gestural abstract paintings
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