Sonntag, 21. Juni 2015

inner space expansion

a book proposal

if i would be an independent artcollector or museumscurator this book  would be a catalog of the mayor works of my collection.

i enjoy the detection of new uplifting forms  of expression, of new levels of virtuosity and new aesthetic flavors. this joy guides the selection process of the images of my virtual collection.

i grew up in the pre-digital age  where only personal contacts, the visit of exhibitions and artfairs , browsing in art magazines, catalogs and books could lead to the discovery of emerging outstanding art that could satisfy the requirements of my personal taste. 

i saw millions of artworks of dead and living artists on my yearly rounds through the halls of artfairs, but it happened only very seldom that i encountered  paintings which i wanted to add to my imaginary collection of „true and timeless art“.

in the course of a few decades, exhibitions worldwide had focused increasingly on new hybrid media. weird spaceconsuming installations drove the art of painting off the stage alltogether. no space was left for  detailed soulful imaginations projected with oldmasterly skills on canvas or panels.

only then, when the internet opened windows into the studios of artists from all over the planet, it became apparent that a multifacetted creative universe parallel to the official contemporary  artscene had established itself online, providing public exposure not limited anymore by the tastes and commercial considerations of the art world. 

i joined facebook in 2008. naturally many of my friends are visual artists.
almost all  companions of my 55 year journey through the wilderness of contemporary art as a professional painter, have today a facebook page and it is very easy to share preferences and new discoveries.

in this way  original and outstanding talents comes to my attention quite frequently. also art that had impressed me in the pre-digital age, but had faded out of my awareness, appears miraculously in postings of new friends.

the  interplay of the  inner worlds of my generation and the one before, with the creations of the younger emerging talents, presents a fascinating growing tapestry of insight into the human selfimage, expressed with traditional and digital means.

obviously we are living in a time where many boundaries in the spectrum of art are dissoving : beween the three distinct painting styles THE REALISTIC, THE PHANTASTIC, and THE ABSTRACT, between painting and sculpture, between the real and the virtual. 

what wants to appear instead is a vision of the everexpanding space of creative freedom.

vienna november 2014                                                              D E
                                                                                                   E S

list of artists included in this book:

1913    Fabrizio Clerici ( 1913 -1993 )
1919    Johfra  (1919 - 1998 )
1930    Ernst Fuchs
1932    Franz Bayer
1932    Abdul Mati Klarwein (1932 – 2002)
1936    Robert Venosa (1936 - 2011)
1939    Isaac Abrams
1941    Erol Denec
1942    De Es 
1945    Olga Spiegel
1946    Richard Rendl
1947    Hanna Kay
1952    Mark Henson
1953    Laurie Lipton
1954    Alexsandr Kosteckij (1954-2010)
1948    Friedrich Hechelmann
1950    Wolfgang Harms
1951    Shala Rose
1951    Robert Steven Connet
1952    Richard Marquand
1953    Bernard Dumaine
1953    Natalia Rudnizka
1953    Fitnat Katircioglu
1953    Alex Grey
1954    Philip Rubinov Jacobson
1954    Tuco Amalfi
1954    Wolfgang Widmoser
1956    Julie Heffernan
1956    Scott Facon
1958    Hermann Smorenburg
1960    Ivan Titor
1960    Steven Lombardi
1963    Andrew Gonzales
1963    Nad Wolinska
1967    Maura Holden
1967    Boris Indrikov
1968    Oleg Korolov
1968    Peter Gric
1969    Fulvio Di Piazza
1970    Yatoshi Sakamoto
1971    Dan Seagrave
1973    Kris Kuksi
1976    Ali Banisadr
1976    Michael Divine
1976    Eduardo Calzado
1977    Hiroyuki Saito
1977    Android Jones
1978    Amanda Sage
1979    Dennis Konstantin
1984    Adam Scott Miller
1988    Adam Psybe

many artists in this book are known as  „phantastic realists“ or „visionary artists“ . this style offers figurative, narrative and symbolic content in mysterious  or  otherworldly settings. it rearranges the objects of real life in unreal magical or absurd ways.  phantasy  is the building site of heaven and hell and the playground of the dreamers.

the material of which  a phantastic world is made of  can look as natural and realistic as much as the skills of the painter allow it. or it can appear to be glassy, translucent, metallic, hot or cold, hard or soft. 

it can melt and get out of shape  till no recognizable object is left. even the last contoures can dissolve  till the only thing  that still appears to be real is the „illusory space“, the threedimesinal effect of the image in the viewers mind, made out of colors ,textures,light and darkness.

thus  phantastic reality can turn into abstract reality made out of patterns and movements , spots and lines and colorvolumes.

some artists start as „phantastic realists“ but over the years turn „phantastic realistic abstracts“. maximal art is phantastic, realistic and abstract at the same time.

Donnerstag, 18. Juli 2013


in diesem bildband fasse ich meine einsichten ab etwa 2000 zusammen.
auf den ARCHITEXTUREN aufbauend. meist grossformatige bilder.

andere, darin nicht gezeigte bilder seit 2010 füge ich hier an:
formate 60x80cm, oder etwas grösser. (das thema VERSCHLINGUNGEN habe ich nun erschöpft )

Bildunterschrift hinzufügen

Sonntag, 4. November 2012

planetarier installation in brugg

Die bei einem merkwürdigen Unfall schwer beschädigten Planetarier , sechs aus der Gruppe von zwölf,
sind wieder auferstanden. Ermöglicht durch die grosszügige Unterstützung des Besitzers und eine zweiwöchige  Malaktion. Hinzugekommen ist noch eine weibliche Figur, welche die Dynamik der Gruppe deutlich beeinflusst.Wer bei der Tankstelle in Brugg,CH, tankt, wird nun auch gratis zusätzlich mit feinstofflicher Planetarierenergie aufgeladen.

Samstag, 11. August 2012

massive group exposure

There are four groupexhibitions of fantastic-visionary artists, running at the same time,  where i  have attendet the festive  openings and had the enjoyable opportunitiy to hang out with artist-friends and to make new ones. A spirit of a common cause is present,   which gathers forces to break through into a larger public not only consisting of other artists and each artists personal entourage. It is the exposure to the "larger public"which will  generate new collectors and sales. A shift from the "starving artists syndrome" to a position of "creating out of abundance" will certainly help to multiply  the visibility of an art that deserves to be called art.

The shows are curated by artists who participate in them  and not by highranking curators affiliated with museums , art fairs,  galleries and art-halls. Also the showlocations are initiated independently from the socalled art world . Not only is there is an incredible massive display of contemporarty art of the other kind in the virtual showcases of social networks and platforms,  now there is also a vital force   that claims space in social and cultural reality.

This is good news : we are becoming a new art world,  a parallel universe of contemporary art.

Curators and organisers : Prof. Philip Jacobson Rubinov, Olga Spiegel, Miguel Tio and France Garrido, Reinhard Schmid, Hanno Karlhuber. Thank you for all your tedious work you put into making these shows possible!

Sonntag, 10. Juni 2012


ich beteilige mich an 2 gruppenausstellungen


Pressetext (Monika Häuslmeier, Marketingleitung Tourismus/Kultur& Stadtmarketing)

PhanART Viechtach 2012
AUSTROnauten – Künstler aus Austria und –alien zu Gast in Bayern

Viechtach. Die Stadt Viechtach im Bayerischen Wald, bekannt auch als „Zentrum der Phantastischen Kunst“ Bayerns, begrüßt in Kürze die AUSTROnauten: Künstler aus Austria und Australien, die in der Tradition der Wiener Phantasten ihren eigenen Weg gehen. 
Die Vernissage zu AUSTROnauten findet am Freitag, den 22. Juni 2012 um 19 Uhr im Alten Rathaus Viechtach statt. Alle Kunstfreunde sind herzlich eingeladen. 

Die Künstler der Wiener Schule des Phantastischen Realismus sind weltbekannt. Die fünf großen Meister Prof. Ernst Fuchs, Arik Brauer, Rudolf Hausner, Wolfgang Hutter und Anton Lehmden gelten noch heute als eine der erfolgreichsten „Exportmarken“ österreichischer Kunst. Die Ausstellung AUSTROnauten präsentiert eine Auswahl der nachfolgenden, aktuellen Generation, teilweise Schüler der Meister der Wiener Schule: DeEs (Schwertberger), Rose-Gabriel de la Lyre, Benedetto Fellin, Peter Gric, Hanno Karlhuber, Boris Koller, Vesna Krasnec, Luigi La Speranza, Leo Plaw, Otto Rapp, Jolanda Richter, Amanda Sage, Wessi. Konzipiert wurde die Ausstellung von Kurator Reinhard Schmid, der als international bekannter Künstler der Phantastischen Kunst die Szene bestens kennt. Unterstützung erhielt der Viechtacher Künstler bei seiner Auswahl durch Direktor Erich Peischl vom Phantastenmuseum im Palais Palffy Wien, der die AUSTROnauten dann ab Oktober auch in Wien präsentieren wird. 
Viechtach verfolgt mit den AUSTROnauten konsequent den Weg, sich international als Zentrum der Phantastischen Kunst zu etablieren. Tausende Kunstfreunde kamen in den vergangenen Jahren in die kleine Bayerwaldstadt, um die beeindruckenden Expositionen u.a. mit Prof. Ernst Fuchs, Lukáš Kándl und seiner internationalen Künstlergruppe „Libellule“, Dalis Erben u.v.a. zu besuchen. Mit den Organisatoren des Phantastenmuseums Wien verbindet Viechtach seit Jahren eine intensive (künstlerische) Freundschaft. So war es nur mehr eine Frage der Zeit, nach den zahlreichen gegenseitigen Besuchen auch eine Phantasten-Ausstellung gemeinsam zu realisieren und sowohl in Bayern als auch in Österreich zu zeigen. Die Laudatio auf die Künstler hält daher kein Geringerer als Prof. Gerhard Habarta (*1939) aus Wien, der seit vielen Jahren selbst Ausstellungen organisiert und zahlreiche Bücher zur Kunst- und Kulturgeschichte verfasst hat. Als Autor des „Lexikons der Phantastischen Künstler“ gilt er als Experte für Phantastische Kunst schlechthin. 

Nach ihrer „Landung“ in Viechtach bleiben die AUSTROnauten bis zum 26. August in Bayern. Die Ausstellung im Alten Rathaus Viechtach (Stadtplatz 1) kann von Montag bis Freitag von 8 – 17 Uhr, Samstag von 10 – 13 Uhr sowie Sonntag von 10 - 12 Uhr und von 14 – 16 Uhr bei freiem Eintritt besichtigt werden. Im Anschluss an die Vernissage findet am Freitag, den 22. Juni am Stadtplatz Viechtach ein Sommerfest mit Musik statt. 

Informationen rund um die Ausstellung erteilt die Tourist-Information Viechtach, Stadtplatz 1, D – 94234 Viechtach, Tel. (0049)9961-1661,


AUSTRONAUTEN als Thema einer Ausstellung ist nicht nur ein Wortspiel mit der Herkunft der Künstler aus Österreich. Ein Paronym mit dem seit 1147 bestehenden Namen Austrie marchionibus also Austria, für das Land Österreich, Ostarrîchi, und dem Lieblingsthema des Wortschöpfers Reinhard Schmid: der Aeronautik.
Schmid, ein Motor der phantastischen Kulturarbeit in Viechtach, malt schöne Frauen in ebenso schönen Flugmaschinen. 
Nun könnte man annehmen, die Austronauten seien ‚shooting stars‘ die durch den Kunstraum irrlichtern. Das sind sie nicht. Die Austronauten sind keine shooting stars, also Sternschnuppen, sondern gestandene Künstlerinnen und Künstler von großer Professionalität und konsequenter, mehrjähriger bis langjähriger Verfolgung ihrer Ziele. 
Startrampe der Austronauten ist - wie es sich für Wien gehört – ein Kaffeehaus, das Café Palffy im Phantastenmuseum. Hier hat Erich Peischl, Geschäftsführer des Österreichischen Kulturzentrums, in der Tradition des ART CLUB-Strohkoffers der 1950er Jahre, einem Biotop der Wiener Phantasten, seinen Künstlerstammtisch eingerichtet. Hier ist das lebendige Zentrum der Begegnung des PhantastenMuseums der neuen Wiener phantastischen Maler.
Der Viechtacher Künstlerkurator Reinhard Schmid wählte aus der starken Gruppierung phantastischer Künstler in Österreich und ergänzte um einen Australier. 
Das ist nichts Überraschendes, denn die Welt ist klein und das US-Postoffice kann sehr oft nicht zwischen dem Land der Kängurus und dem der Lipizzaner unterscheiden. 
Aber die Geographie ist überhaupt kein Kriterium um als österreichischer Phantast zu gelten. Benedetto Fellin stammt aus Meran, Italien, Peter Gric aus Tschechien, Amanda Sage ist Amerikanerin, die u.a. in Wien in einem Freien Kulturhaus arbeitet, Jolanda Richter startete in den Niederlanden und Otto Rapp ist Wiener, der lange Jahre in Kanada lebte. DE ES Schwertberger ist Wiener, hatte in der legendären Galerie Fuchs seine erste Ausstellung, ist aber sehr stark der amerikanischen Visionary Art zuzuordnen. Leo Plaw ist Australier, der in Berlin lebt, ein weltweites Webnetz für die phantastische Kunst spannt und einen starken künstlerischen Hang zu Wien hat. Rose de la Lyre ist Französin und lebt in Wien. Boris Koller ist Wiener, hat hier an der Akademie studiert, ist aber seit fast 20 Jahren intensiv mit Schweden und Norwegen verbunden und lebt in Wien und München. Wessi ist geborene Bulgarin, aber hat die Hälfte ihres Lebens ihren Lebensmittelpunkt in Wien. Luigi la Speranza stammt aus Wien, war ein Wiener Wunderkind, lebt in Wien und hat den schönen italienischen Namen La Speranza = die Hoffnung. Und die in Wien lebende Vesna Krasnec mit dem slawischen Namen der Frühlingsgöttin ist geborene Deutsche.
Österreichische Phantasten sind international, aber das Land war immer ein Vielvölkerstaat. Aber das ist nicht das Einigende in der Gruppe der Austronauten, die eigentlich eine Auswahl ist.

Ihr großes Gemeinsames ist, dass Österreichs Phantasten Feinmaler sind. 
Ihnen ist die technische Fertigkeit besonders wichtig. Nicht alle Surrealisten hatten das, aber die Vorbilder und Vorgänger der Austronauten, die Maler der Wiener Schule des Phantastischen Realismus hatten die Meisterschaft der Malkunst als Grundforderung und Voraussetzung: Man muss ein guter Maler sein um sich ausdrücken zu können.
Nun könnte man sagen, das können auch die Tachisten, die drücken ihre Emotionen durch die kontrollierte Spontanität der Bewegung aus. Oder die kontemplativen Farbästheten auf ihre Art. 
Ein Geiger, ein Pianist oder auch ein Digitalkomponist können ihre Kunst, sei es als Interpreten oder Komponisten nur ausdrücken, wenn Sie ihr Instrument mit höchstmöglicher Meisterschaft beherrschen. Und das lernen und üben sie in jahrelangen Prozessen. Die Austronauten, die Wiener Phantasten verlangen das auch von ihrer Malerei. Sie wollen nicht ungelenk auf ihrer Geige kratzen, wie das auch kein Geiger auf der Stradivari will. Sie wollen mit den altmeisterlichen Geheimnissen der Malkunst ihre Visionen, ihre Ideen, ihre Bilder und Abbilder auf die Leinwand bringen.
Es wäre ein fataler Fehler den Violinisten der meisterlich seine Kadenzen auf einem antiken Instrument spielt, als unzeitgemäß, nicht aktuell, altmodisch, zurück geblieben, zu klassifizieren. 
Es ist ein ebensolcher Denkfehler, die Phantasten mit ihrer altmeisterlichen Feinmalerei als unmodern abzukanzeln.
Viechtachs - dem bayerische Zentrum für Phantastische Kunst - Bürgermeister Georg Bruckner ist mit dem PhantastenMuseum Wien interessiert freundschaftlich verbunden. Er hat das PhantastenMuseum Wien eingeladen und der Künstlerkurator Reinhard Schmid hat die Auswahl getroffen und den Namen dafür erfunden. 
Der wird den Wienern bleiben. 
Denn es ist eine Ehre, die österreichischen Künstler als AUSTRONAUTEN zu klassifizieren, denn gesetzlich ist eine solche Ursprungsbezeichnung ‚nur dann zulässig, wenn es sich um ein Unternehmen mit überdurchschnittlicher Bedeutung handelt bzw. Produkte typisch österreichischen Gepräges oder wesentlich höherer Qualität hergestellt werden.‘ 
Und das ist es ja wohl.

Prof. Gerhard Habarta


The QCC Art Gallery 
of the City University of New York is a vital educational and cultural resource for the Queensborough Community College, the Borough of Queens and the surrounding communities. It is a large, dynamic space that was extensively renovated and reopened in 2004.  

Visionaries : The Art of the Fantastic
July 12 - Sept 20, 2012
Opening reception:  July 12 from 5-8pm

Visionary art is a journey, an inner journey of interconnectedness, into a world of extraordinary imagination, encompassing and exploring the qualities of light and dark with a universal and personal focus. Utilizing images that run the spectrum of the human condition, elation to desperation. From the heart rises fantastic and astonishing works of art!

A new art world has emerged; we are witness to a burgeoning of creation. A new and exciting culture, not just an art movement; whose life stems from a central point of inner growth, development and experience into the deep and intimate exploration of spirit with visual expression as key to its understanding.

An organic process of transformation occurs within the sacred and fertile inner world. It shifts from a meditative experience into a culture expressly manifested for the now and the future. It is the visionary who can create in this ‘place’ in a most compelling and extraordinary way!

In early summer of 2011, Olga Spiegel, Miguel Tio and I embarked on the Visionaries exhibition. From its initial seeds to its fruition it has been an illuminating journey, filled with hills and valleys. As the garden grows so did this project.

It has been an extraordinary privilege to glean this sampling of art and artists who are trailblazers. There is much to come, there is much to do, there is a distinct path to follow to a culture that not only expresses our inner and outer world of reality and dreams but also presents us with a future of possibilities.

The Visionary tribe of artists has grown into a living, vibrant community of artists and free thinkers. It has shifted and morphed into something new and exciting. Not just an art movement but a lifestyle; a lifestyle that embraces art, and an inner life cultivation. It is a place of great discovery and inspiration.

It is here that we enter into an exhibition of the most intimate of exchanges.

France Garrido
May 2012

This show deserves special attention because it is a first time event in the States, that three generations of artists of this multi-facetted genre are showing together in quite a reputable cultural space. When i lived in New York, from 1975 till 1986, i wanted to link my Austrian background as a phantastic-realistic painter with related parallel phenomena in the States. The names that would make up an international movement fitted on a quarter sheet of paper then, nowadays, the www lists hundreds ( even more ) and it is obvious that contemporary art, as it has been promoted during five decades has another valid face, which is slowly but surely turning from the shade of suppression  into the light of recognition.
Some years ago i wrote an article suggested by Jon Beinart, with the title THAT ART , about my personal experience how this development took place  . I want to quote it here  to show the long route which some of the elders had to walk to finally merge with the mainstream of visual culture. 
To update THAT ART the profound and ceaseless dedication of Professor Gerhard Habarta  to the phantastic-surreal-visionary cause , which culminated in the creation of the PHANTASTENMUSEUM , would have to be added. 

Jon invited me to make a comment in the forum about visionary art.
I said this term is really overdefined and  becomes self evident by scanning through the long list of links. But he overcame my reluctance by saying  it should be less intellectual, more personal. So i take this gratefully as an opportunity to align my relevant experiences.

My story starts in the mythical age of the glorious emergence of THAT ART, Vienna 1964 in the gallery of Ernst Fuchs with my first one man show, shortly after being initiated into the Old Masters Technique by him. The  famous five of the Viennese School of Phantastic Realism ( Fuchs, Brauer, Lehmden, Hausner , Hutter ) had gathered  a large following of younger artists , called  THE SECOND WAVE OF THE VIENNESE SCHOOL OF PHANTASTIC REALISM. (needless to say that there came many more waves) There were about lets say thirty artists who showed mainly in this gallery within the following years, encouraged with the fatherly love of  Ernst Fuchs to aspire to reach up to the stars in art heaven.
Ernst introduced me through books and catalogs which one could find only in his studio to other artists who worked also in this manner  in other countries.( eg Klarwein,  Escher, Johfra) I realised soon that there was a simultaneus appearance of other phantastic painters as a world wide phenomenont that stood in sharp contrast to the attitudes of modern art.
Fuchs was teaching the old masters technique privately and Hausner later became professor on the Viennese Akademie.  Paetz, Helnwein , Hechelmann and Jochen Wahl became my  closest friends . We all had had very differnt ideas but the fine illusionistic technique was the common denominator of our works. The book Manierismus  by Gustav Rene Hocke  was our bible. 

When i moved to Switzerland in 1968 i met Giger  and had a show together with him ,  he did not yet work with  airbrush then. Here i also learned about the existence of Psychedelic Art.  I did not work anymore in the Old Masters Technique and was basically interested in content and strong concept- not so much in the   beautiful-and-fine. The roots of my stone-period are in Switzerland. 
Back in Austria in 1972 I was assistent of Professor Ernst Fuchs at his seminar in the magical castle of Reichenau. His genius attracted artists and visitors from all over the world , many are wellknown  today  and have also become teachers of the oldmasters approach to inner vision. (Hanna Kay,  Olga Spiegel , Phil Jacobsen Rubinov, Wolfgang Widmoser,Bob Venosa...)

I moved to New York in 1974 and lived there in the legendary artist district Soho till 1986. I teamed up with my new friends from Reichenau   , discoverd more kindred spirits, got acquainted with the Visionaries and Psychedelic Artists from east and west, taught the old masters technique together with Phil  in the large basement of my studio in Green Street and realised soon that the New York art scene had absolutely no taste for THAT ART
I felt strongly that it was my mission to fuse the European branch of inner vison with the American, that this type of art was the first truly international art movement and so I organised a group exhibition in the Studio Planet Earth Gallery  (  Isaac Abrams, Olga Spiegel, Hanna Kay ),  an effort that led later to the formation of the New York Visionaries. 
I was happy to discover  the art of Alex Grey in a gallery not far from the studio, as a sign that the art scene was maybe more open than I thought and I met Antonio Peticov, who added the special South American touch to THAT ART . Unforgettable are also my meetings with Ingo Swann under the umbrella 
of parapsychological art. (PSI ART)

Nevertheless the movement stayed underground. But there were a few  individuals like Mikl Bell and Christian de Boek who had the strong intention  to gather the spirits .  Boeks website later became like a Who is Who in   the World of Strange Visions.

1982  I published a  booklet  called  SHARING LIGHT    where I also made some statements about my artistic position and what i thought THAT ART is. This was my view:
Surrealism had developed into Phantastic Realism  through natural evolution  and Phantastic Realism changed into Transformative Art through the agens of the spirit of theNew Age . Furthermore, on the future level Planetary Art was already starting to emerge.
In all this was an underlying visionary current of inspiration, leading from  the darkness of the Middle Ages to the coming bright Planetary Age 

Personally I was not fond of being called a surreal painter, Surrealism is a historical place for me, and i didnt think of myself as being a visionary artist either because visions come and go  and i wanted to formulate solid states of  the human condition. 
           I remember many very entertaining brainstorming sessions where we tried to come up with the absolut perfect name for a group project of  THAT visionary- manieristic- surreal- phantastic-realistic- psychedelic- new-age- psi--transformative-planetary  ART.

At my return to Vienna in 1986  the phantastic realists were considered of no  interest for  the  contemporary art scene, but  the founding fathers of the movement  had established parallel art worlds and were successfull in their own terms .
The remains of the Second  Wave of the School of Phantastic Realism had dissolved into two groups: some were still working in the absolutely meticulous manner and the others had changed their stiles in various ways. 
I belonged to the second group , worked on large formats quite loosely  and confused my former collectors ( who suffered because i didn paint stones anymore).  Obviously I had manoevered my self out of the main stream of THAT ART  into unknown territory, from where watched  its rapid growth.

The two books of Michel Random on Visionary Art introduced me to quite a number of artists especially from France which i had not seen before.
James Cowan , publisher of  Morpheus Int.  handed  another handfull of  remarkable artists over to the eyes of the public.  It is  e.g his merrit that the influence of Beksinski  has impressed the younger generation.

Since I know Ernst Fuchs  he spoke of his  cherished dream to organise a museum for THAT ART  and so it was not surprising that he managed to organise the  Venice  Art Fair for Phantastic Art where one could discover even  more of the never seen before. ( Claude Verlinde, Judson Huss,...)
Damian Michaels gets the movement rolling in Australia and publishes a visionary art paper and organises a travel exhibition.
            Phil , my dear friend since Reichenau came to Europe almost every year to give painting seminars which always included a visit with his students to my studio. In turn  I visited him at his course locations  and enjoyed to spend time with him, Michael Fuchs and the students . In this way I met more and more very gifted members of the tribe, who now make their mark  in the web.

Phils book  Drinking Lightning  brought back wonderful memories from 
our common times in Studio Planet Earth, New York. His profound insights into the relationship of art and spirituality  and his discovery of the invisible tribe  as the genetic pool of the artists  of  THAT ART  are certainly plowing the grounds for a meaningful art of the future. 



  Three years ago i got my self a computer and plugged myself into the collective mind. Lawrence Caruana surprised me with his thorough investigations and evaluations of visionary art and the development of its network.

Morpheus establishes  a museum for the Fantastic Arts in the net. His crew is also growing. For years i was thinking it cannot get darker than Giger, but here comes Barlow and prooves me wrong.

I met Peter Gric who also lives in Vienna , his stunning works  his, computerskills  and his links show me where the tribe might move to in the future. Through the net i make contact with other artists from his generation.

In the local gallery of  Hanno Karlhuber  old and young members of the tribe come together at openings to celebrate  THAT ART

Brigits Marlins   Society of the Art of Imagination  and its presence in the internet unleaches an  hitherto unimaginable flow of image-force. 

Visits to the Netherlands with Phil reveal  the outstanding genius of Johfra and the existence of a community of tribe members who have not been known here  till now, with connections to France and  to  Eastern European  countries . Rardy van Soest is in the process to create a museum für phantastic realism,  Gerrit Luidinga is  compiling  names and images since years.

This summer i met Phil again and he showed me his recent magnum opus  Eyes Of The Soul which collects 150 ! artists from all over the planet in one  monumental volume. It took me three hours  just to look through the color plates,so much was there to discover !

Okay, and here comes Jon Beinart  and switches on the link cluster in the visionary art forum ,  where i find almost  all assembled who passed through ----  this pages- plus more to discover-----isn´t  THAT ART?

Vienna, november 11 th, 2005                                                            D E
                                                                                                            E S

MESSAGE TWO from march 1982, new york 

transformation in art : transformative art 

transformation is the key koncept for the understanding of the current world-condition 

transformation is the process of fundamental change from the "old world" 
to the " new world “

transformation is a process of continual creation, the flow of evolution 

transformation moves consciousness, through liberation, growth, expansion, self-realisation and transmission of the energy of transformation 

transformative art is a mirror of and an instrument for transformation. it is the expression and transmission of the energy of transformation 

transformative art transports awareness beyond the limitations of old belief systems-it transforms. 

transformative art 1. reveals the limitations of the "old world" 
2. leads back to the source and real values of life 
3. tunes into the harmonic order and full potential 
of the whole 
4. expresses new possibilities, new ideals, new reality 
models and the self-image of the new man 


transformative art developed indepently at the same time as many modern and postmodern "isms".it stands in sharp contrast to pure formalism as well as pure its methods it basically continues the traditions of the old masters yet applies it to the subjects of our time. it integrates and brings into focus artistic phenomena that have been labeled mystic, spiritual, transcendental, metaphysical , symbolistic, manneristic, visionary, surreal, fantastic, fantastic-realistic, magic realistic, psychedelic, psychic, consciousness, cosmic, science fiction, space, new age, and so on... art. 

Samstag, 3. März 2012