Sonntag, 14. April 2019

a digi-tale

Playing around with photoshop in 2006. At first i digitalised and transformed some of my original paintings and proceeded to create new images directly with the mouse. I was fascinated with two icons, the SOUL-FIELD and the FRAME-FIELD. The numerous photoshop tools allowed me to combine them into new images, some of them became quite complex and suggested a wide range of interpretation.
I alined a selection of 80 images (there were about 200 alltogether) as a slideshow, which maybe, is telling a story about playful freedom and dimensional restriction, a "digi-tale".
Here is a selection of images i used:


Montag, 1. April 2019

"oil on paper", small works

In general my paintings are done with oilpaint on canvas. I have a habit to always have small papers (size A3) next to me on the floor or pinned to the wall when i paint. I  use these to make quick notes with the brush that happens to be in my hand, when the paintingprocess evokes new ideas , when i want to experiment with different colors or  different brushstrokes, or  simply when i want to get rid of excess paint on the tip of the brush.

I keep adding touches here and there when inspiration calls for it , sometimes it takes days , month or even years if a next action happens on a such a paper. I sort out what seems to make sense as a base that could become  eligible as "a small work".  Finally i focus on what is there and turn with little work the "oil on paper" into a real painting. The other papers stay in the process  and mature till they are acceptable for the final touches.

From 1993 till 1997 i  made about 400 such small  works. You can view a selection here, also the slideshow with the title INSCAPES

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