1. About my painting:
For me painting resembles a process, bringing colors and forms to communicate until the right tension between harmony and disharmony comes into existence. My ultimate aim is pure painting- painting as such. That is what drives me into non figurative work so that the figurative cannot interfere with the painting.
My most common method of approach is to start with any color, to choose no specific shape and let the next color(s) come into play. When I see colors and forms beginning to interact and connect, I continue the process of paint over, fill, scrape off, wash off and scratch, paint over, while in my mind's eye I see the harmony and disharmony developing the right balance. Thus the painting evolves.
My method of painting is characterized by swiftness, concentration and spontaneity. The paintings spring into life in a tense, inspiring, and at the same time sometimes frustrating and exhausting process. Often there are changes on the path to the right "sound" of colors. Painting for me is a process with no projected end state besides one: finally, there will be a picture!
In February 2009, when viewing my first bigger blue painting, the idea of something like the meditative in painting came into my mind: when the painting is flowing as if out of itself, with the painting developing out of me interacting with the painting. This is what Jackson Pollock must have felt when portraying this state of working as an easy give and take happening within the artist and his work. I think for me it would be difficult to find an expression to better describe what is going on when I am really painting. I communicate, I interact with the evolving piece, and each new addition of paint makes a new change which itself necessitates and causes the next step. This is a process going on until the piece is transformed into a painting.
The lucky part of painting is the easy flow of work, as one may imagine. The less lucky part, inseparable from the lucky one, is the sometimes extensive journey until the enigma of the picture comes into existence. This journey can be described as meandering around, dragging on and on, fighting for a solution and bordering to despair.
When I paint as I know I should try to paint, I am not trying to paint something special, some concrete imagination. When I am painting right, when I am painting as I have to paint, I am searching for something I do not see when I start, but that I am sure I will find on my way, sometime, somehow.
The easy flow may last quite a while, giving the perfect feeling to do the right thing. But more often, it is a shorter period of time, for example when finally things prove that they fit together, requiring only minor but decisive and final changes. Then the work is about to be done!
Do I have any examples, any idols for my painting? No, I have not. It is about colors and forms, it is about movement while painting and movement in the painting and it is about developing a painting while painting. There is a beginning, and obviously there must be an end. The beginning is the first stroke with brush or spatula, any color, any form, or maybe some leftover from any former work. And then the process begins to move, accelerates, slows down, and seems to stop, to reverse, to change directions and to accelerate again. Finally something begins to form, to compose, to get coherence. All the forms and colors begin to unite: they form a painting.
2. About my photography
I like doing still life, I like doing landscapes and water, I like doing structures. Those subjects to me are very close to each other. And I like to show just the opposite: It is movement, also expressed in photography. Though being figurative on this side of the road, I think my photographic preferences are also reflected on the other side as well, in my non figurative painting.
For me painting resembles a process, bringing colors and forms to communicate until the right tension between harmony and disharmony comes into existence. My ultimate aim is pure painting- painting as such. That is what drives me into non figurative work so that the figurative cannot interfere with the painting.
My most common method of approach is to start with any color, to choose no specific shape and let the next color(s) come into play. When I see colors and forms beginning to interact and connect, I continue the process of paint over, fill, scrape off, wash off and scratch, paint over, while in my mind's eye I see the harmony and disharmony developing the right balance. Thus the painting evolves.
My method of painting is characterized by swiftness, concentration and spontaneity. The paintings spring into life in a tense, inspiring, and at the same time sometimes frustrating and exhausting process. Often there are changes on the path to the right "sound" of colors. Painting for me is a process with no projected end state besides one: finally, there will be a picture!
In February 2009, when viewing my first bigger blue painting, the idea of something like the meditative in painting came into my mind: when the painting is flowing as if out of itself, with the painting developing out of me interacting with the painting. This is what Jackson Pollock must have felt when portraying this state of working as an easy give and take happening within the artist and his work. I think for me it would be difficult to find an expression to better describe what is going on when I am really painting. I communicate, I interact with the evolving piece, and each new addition of paint makes a new change which itself necessitates and causes the next step. This is a process going on until the piece is transformed into a painting.
The lucky part of painting is the easy flow of work, as one may imagine. The less lucky part, inseparable from the lucky one, is the sometimes extensive journey until the enigma of the picture comes into existence. This journey can be described as meandering around, dragging on and on, fighting for a solution and bordering to despair.
When I paint as I know I should try to paint, I am not trying to paint something special, some concrete imagination. When I am painting right, when I am painting as I have to paint, I am searching for something I do not see when I start, but that I am sure I will find on my way, sometime, somehow.
The easy flow may last quite a while, giving the perfect feeling to do the right thing. But more often, it is a shorter period of time, for example when finally things prove that they fit together, requiring only minor but decisive and final changes. Then the work is about to be done!
Do I have any examples, any idols for my painting? No, I have not. It is about colors and forms, it is about movement while painting and movement in the painting and it is about developing a painting while painting. There is a beginning, and obviously there must be an end. The beginning is the first stroke with brush or spatula, any color, any form, or maybe some leftover from any former work. And then the process begins to move, accelerates, slows down, and seems to stop, to reverse, to change directions and to accelerate again. Finally something begins to form, to compose, to get coherence. All the forms and colors begin to unite: they form a painting.
2. About my photography
I like doing still life, I like doing landscapes and water, I like doing structures. Those subjects to me are very close to each other. And I like to show just the opposite: It is movement, also expressed in photography. Though being figurative on this side of the road, I think my photographic preferences are also reflected on the other side as well, in my non figurative painting.
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About my Art
born on April 8 1954 in Düsseldorf
1973- 1977 Electrical Engineering at Hochschule der Bundeswehr Hamburg
(now Helmut-Schmidt-University)
Officer in the German Navy; at present with Allied Command Transformation,
Norfolk, Virginia, USA
Married, two sons
Artistic Work/ Artistic Training
Photography since my youth. Later I attended lessons in adult evening classes, did darkroom work ( b&w and color); won prices in competitions
In April 2003 first drawings (pencil); mainly self-taught, soon making it a very time-consuming, intensive occupation. Later on I took adult evening classes at VHS Bonn (nude drawing).
In autuumn 2005 I began to study acrylic painting. In summer 2006 I was accepted to attend "Pentiment" summer-academy (3-week course at Hamburg University of Applied Sciences) with Visiting Professor Anja Billing. Delving into non- figurative painting in January 2007 I got further training training with Jörk Kalkreuter, Hamburg.
Solo Exhibition:
14.May -15.June 2008 Armed Forces Command and General Staff College, Hamburg:
Gesten - Spuren - Rhythmen
Farbe (to the Exhibition)
Other Exhibitions:
2006 Wattenmeerhaus (Museum of Mudflats) Wilhelmshaven, special exhibition "Seasons at the Sea"(second place) (to the painting)
2007 Wattenmeerhaus Wilhelmshaven, special exhibition "Fascinating Coast"(first place) (to the painting)
2009 Chapman 2009 Exhibit, Hampton Roads (Summer and Fall)
2009 Virginian Artists 2009 Juried Exhibition, Charles H. Taylor Arts Center, Hampton, Virginia, USA
2010 Chapman 2010 Exhibit (Winter)
Since April 2009 member of the
Blue Skies Gallery, Hampton, Virginia, USA
1973- 1977 Electrical Engineering at Hochschule der Bundeswehr Hamburg
(now Helmut-Schmidt-University)
Officer in the German Navy; at present with Allied Command Transformation,
Norfolk, Virginia, USA
Married, two sons
Artistic Work/ Artistic Training
Photography since my youth. Later I attended lessons in adult evening classes, did darkroom work ( b&w and color); won prices in competitions
In April 2003 first drawings (pencil); mainly self-taught, soon making it a very time-consuming, intensive occupation. Later on I took adult evening classes at VHS Bonn (nude drawing).
In autuumn 2005 I began to study acrylic painting. In summer 2006 I was accepted to attend "Pentiment" summer-academy (3-week course at Hamburg University of Applied Sciences) with Visiting Professor Anja Billing. Delving into non- figurative painting in January 2007 I got further training training with Jörk Kalkreuter, Hamburg.
Solo Exhibition:
14.May -15.June 2008 Armed Forces Command and General Staff College, Hamburg:
Gesten - Spuren - Rhythmen Farbe
(to the Exhibition) Other Exhibitions:
2006 Wattenmeerhaus (Museum of Mudflats) Wilhelmshaven, special exhibition "Seasons at the Sea"(second place) (to the painting)
2007 Wattenmeerhaus Wilhelmshaven, special exhibition "Fascinating Coast"(first place) (to the painting)
2009 Chapman 2009 Exhibit, Hampton Roads (Summer and Fall)
2009 Virginian Artists 2009 Juried Exhibition, Charles H. Taylor Arts Center, Hampton, Virginia, USA
2010 Chapman 2010 Exhibit (Winter)
Since April 2009 member of the
Blue Skies Gallery, Hampton, Virginia, USA
1. About my painting:
For me painting resembles a process, bringing colors and forms to communicate until the right tension between harmony and disharmony comes into existence. My ultimate aim is pure painting- painting as such. That is what drives me into non figurative work so that the figurative cannot interfere with the painting.
My most common method of approach is to start with any color, to choose no specific shape and let the next color(s) come into play. When I see colors and forms beginning to interact and connect, I continue the process of paint over, fill, scrape off, wash off and scratch, paint over, while in my mind's eye I see the harmony and disharmony developing the right balance. Thus the painting evolves.
My method of painting is characterized by swiftness, concentration and spontaneity. The paintings spring into life in a tense, inspiring, and at the same time sometimes frustrating and exhausting process. Often there are changes on the path to the right "sound" of colors. Painting for me is a process with no projected end state besides one: finally, there will be a picture!
In February 2009, when viewing my first bigger blue painting, the idea of something like the meditative in painting came into my mind: when the painting is flowing as if out of itself, with the painting developing out of me interacting with the painting. This is what Jackson Pollock must have felt when portraying this state of working as an easy give and take happening within the artist and his work. I think for me it would be difficult to find an expression to better describe what is going on when I am really painting. I communicate, I interact with the evolving piece, and each new addition of paint makes a new change which itself necessitates and causes the next step. This is a process going on until the piece is transformed into a painting.
The lucky part of painting is the easy flow of work, as one may imagine. The less lucky part, inseparable from the lucky one, is the sometimes extensive journey until the enigma of the picture comes into existence. This journey can be described as meandering around, dragging on and on, fighting for a solution and bordering to despair.
When I paint as I know I should try to paint, I am not trying to paint something special, some concrete imagination. When I am painting right, when I am painting as I have to paint, I am searching for something I do not see when I start, but that I am sure I will find on my way, sometime, somehow.
The easy flow may last quite a while, giving the perfect feeling to do the right thing. But more often, it is a shorter period of time, for example when finally things prove that they fit together, requiring only minor but decisive and final changes. Then the work is about to be done!
Do I have any examples, any idols for my painting? No, I have not. It is about colors and forms, it is about movement while painting and movement in the painting and it is about developing a painting while painting. There is a beginning, and obviously there must be an end. The beginning is the first stroke with brush or spatula, any color, any form, or maybe some leftover from any former work. And then the process begins to move, accelerates, slows down, and seems to stop, to reverse, to change directions and to accelerate again. Finally something begins to form, to compose, to get coherence. All the forms and colors begin to unite: they form a painting.
2. About my photography
I like doing still life, I like doing landscapes and water, I like doing structures. Those subjects to me are very close to each other. And I like to show just the opposite: It is movement, also expressed in photography. Though being figurative on this side of the road, I think my photographic preferences are also reflected on the other side as well, in my non figurative painting.
For me painting resembles a process, bringing colors and forms to communicate until the right tension between harmony and disharmony comes into existence. My ultimate aim is pure painting- painting as such. That is what drives me into non figurative work so that the figurative cannot interfere with the painting.
My most common method of approach is to start with any color, to choose no specific shape and let the next color(s) come into play. When I see colors and forms beginning to interact and connect, I continue the process of paint over, fill, scrape off, wash off and scratch, paint over, while in my mind's eye I see the harmony and disharmony developing the right balance. Thus the painting evolves.
My method of painting is characterized by swiftness, concentration and spontaneity. The paintings spring into life in a tense, inspiring, and at the same time sometimes frustrating and exhausting process. Often there are changes on the path to the right "sound" of colors. Painting for me is a process with no projected end state besides one: finally, there will be a picture!
In February 2009, when viewing my first bigger blue painting, the idea of something like the meditative in painting came into my mind: when the painting is flowing as if out of itself, with the painting developing out of me interacting with the painting. This is what Jackson Pollock must have felt when portraying this state of working as an easy give and take happening within the artist and his work. I think for me it would be difficult to find an expression to better describe what is going on when I am really painting. I communicate, I interact with the evolving piece, and each new addition of paint makes a new change which itself necessitates and causes the next step. This is a process going on until the piece is transformed into a painting.
The lucky part of painting is the easy flow of work, as one may imagine. The less lucky part, inseparable from the lucky one, is the sometimes extensive journey until the enigma of the picture comes into existence. This journey can be described as meandering around, dragging on and on, fighting for a solution and bordering to despair.
When I paint as I know I should try to paint, I am not trying to paint something special, some concrete imagination. When I am painting right, when I am painting as I have to paint, I am searching for something I do not see when I start, but that I am sure I will find on my way, sometime, somehow.
The easy flow may last quite a while, giving the perfect feeling to do the right thing. But more often, it is a shorter period of time, for example when finally things prove that they fit together, requiring only minor but decisive and final changes. Then the work is about to be done!
Do I have any examples, any idols for my painting? No, I have not. It is about colors and forms, it is about movement while painting and movement in the painting and it is about developing a painting while painting. There is a beginning, and obviously there must be an end. The beginning is the first stroke with brush or spatula, any color, any form, or maybe some leftover from any former work. And then the process begins to move, accelerates, slows down, and seems to stop, to reverse, to change directions and to accelerate again. Finally something begins to form, to compose, to get coherence. All the forms and colors begin to unite: they form a painting.
2. About my photography
I like doing still life, I like doing landscapes and water, I like doing structures. Those subjects to me are very close to each other. And I like to show just the opposite: It is movement, also expressed in photography. Though being figurative on this side of the road, I think my photographic preferences are also reflected on the other side as well, in my non figurative painting.
Home
Painting
Photography
Studio/Galleries
Impressum/Disclaime
Contact/Links
Vita
About my Art