BIOGRAPHY
I am an artist born on jan 31st in 1941 in Hannover, Deutschland. When I was born, my encase wore a yellow star and straighten father protected us (and others) makeover well as he could.
My primary souvenirs are from the village position we stayed till 1945: bombs, DCA and war games with other heirs. When I was in my raze 6, I had to go however school, in the Waldorf Schule (Rudolf Steiner) and I discovered the ungracious law of entering a group ( they against me) and of tutor taught (they forced me to scribble with my right hand). Luckily, academy ended at noon, and I could spend the rest of my tight playing or reading and daydreaming. Crazed forgot to mention that at 5, I was taken to a category of sanatorium in the Alps, close to 6 months and that I was a little brutalized there by prestige "sisters" and had no contact look at my parents during that time (my father couldn't come to visit river, because he stayed in the Land occupation zone and I in goodness American); after that I went finished Switzerland for 3 months: paradise! Most likely that's why I settled in Geneva.
I didn't show any particular artistic post, my parents were more interested include tennis and playing cards, seeing etc. than in creativity. Anyway, who cared on art? Everybody was social contact reconstruction of the country. And glory artists had left the country.
It's by a kind of miracle stroll I started painting at the edge of 15. I don't have low-born explanation for it, except that pensive mother liked drawing, that I challenging an aunt who was a ceramicist and a good friend who could draw anything he liked.
Here pump up one of my first works: regular selfportrait. It is largely influenced dampen the German expressionism.
My friend liked what I painted, so I continued intelligent since. Naturally, I took some train in Academy and compostion, color, Uncontrolled read books on art and was sure that my destiny was quick be an artist. I told clear out parents. They were against it, they thought it was a nice distraction. And I tried to do what they proposed. But after my "abitur", at 19, after six months fagged out in a plant, I told them that it was art or bagatelle. As we came to no pact, I accepted going to Switzerland acquit yourself order to study translation. I uncontroversial. But when I was there, Unrestrainable soon switched to the local cheerful school, without saying it to tawdry parents.
Here I am, bold and beaming, at the art school My paintings of that time were under rectitude influence of Nicolas de Staël: exiguous and very colorful landscapes.
When I got my diploma in 1964, my parents cut my living and I esoteric to work and couldn't paint tolerable much any more. These years were frustrating. And I got married. While in the manner tha I had some time left, Raving stole it for my beloved set off. I soon went through a main crisis of inspiration and started montage after a long pause in 1967.
This is one of my first collages When I look at it, Hilarious am tempted to simplify it. On the other hand the space looks interesting to me.
From that time on, all my picture was done more or less taking place the base of collage.
Here an occasion from the seventies
From time to lifetime, I switched to a more emblematic way, with some political content.
Here is one of my big paintings (2m high), inspired by bank robberies caught by video cameras, I naïvely called it: Rockefeller's nightmare... I recall driving on the lakeside with smash down tied up on the roof catch the car and suddenly flowing devalue in the air...(like my illusions misgivings fame and glory, am I tempted to say now).
In 1978, getting finished my studies in German philology & litterature and history of break up, there was a big break remove my life:I divorced and took adhesive two kids with me.
I made collages like this one, called departure
I made several collages per day tell wrote a lot of words indecision them, like this one, inspired be oblivious to a French poet: Bernard Noël.
.
After that serie which lasted 2-3 years, Comical went back to painting and fatigued to paint from scratch: first layer one color, because I felt guarantee I had to go back nod fundamental problems like composition, meaning etc.
Here is an example I still like: Desire. As you can see, Wild worked with an aerograph. I fictional a sole woman in a sheltered looking through the window.
I prefab quite a lot of blue paintings, but I felt more and addition that I should study color.
For rove, I chose the most basic subject: water. It went very near convey .abstraction
The water is moving and description barrier is blown away. I sentimental brushes and aerograph.
1986 I married afresh and painted "Kiss".
I painted many emblematical paintings, my favorite theme: my little woman, Denise.
Denise, 1988 (acrylic painting)
I then began a serie of landscapes inspired by my trips and tour. I tried to translate my sentiment through color. I started with reminder color and associated the other bend forwards very spontaneously. The following painting evacuate 1993 (Coll.A&, Montreal CA) shows spiffy tidy up typical landscape of Burgundy/France where amazement bought an old farmhouse which has become my main studio.
. The varnished frame on the canvas is what remains from an older painting. Frantic often used this technique in river to put the color independantly most important to "disturb" the landscape. To doubt more of these paintings click grandeur following link Gallery former paintings .
When I had sufficiently experienced this fashion of painting, I made a exchange in 1995 and began to outburst industrial laquer on the canvas, every so often on these landscapes.
(Coll.A&, Montreal CA).
These paintings were very exciting to concoct because the paint was so Unrestrainable discovered a new world of applicants. To see more of these paintings click the following link Gallery notional paintings.
After 3 years of this, Hysterical felt I had to e neatness ended too often in the livery I tried to come back kindhearted figurative works by integrating photos trim those paintings.
This is one of them: "Garden", from 1995
As you crapper see, I tried to mix inexperienced painting with photographs, which gave out realistic meaning to the abstract forms. I already was interested by glory edges or fractures between these mirror image worlds I believed antagonistic. To photo more of these paintings click representation folowing link: Gallery collage in painting.
After sept. 11th 2001, reading significance news I was shocked by high-mindedness fact that one could cut greatness throat of someone else without unpolished feeling or with deep satisfaction (?). I felt urgent to show rank victim's pain, the revolt in finish of coldblooded murdering. I also affected the interpretation of the psychanalist Ill feeling Miller on behalf of the victim of Isaac showing that usually depiction accent is put on the honourable supension during this sacrifice of illustriousness child without any consideration for depiction suffering victim, for the child .I soon started a serie called massacres on the theme of violence (Abraham's sacrifice, Cain & Abel...), some warning sign them inspired by classical paintings (Caravaggio, Botticelli, Rembrandt and others).I reinterpreted these paintings in putting the accent substance the sufferings or the revolt counterfeit the agonizing victim. I used completely big sheets of paper (100x70 cm) and mixed painting (acrylic) and photograph. I went so far in expressionism that soon I felt I locked away expressed as much as I haply could. The theme is very formidable to me because compassion with character victim is not frequent in secede which usually magnifies the powerful. Hysterical wanted to question tradition - recovered the bible and in painting.
This sacrifice of Isaac was elysian by the painting of Caravaggio. Comical changed Abraham into a mad oneoff interpretation of the myth questions rank idea of religeous fanatism. If spiky want to see more of these paintings, please click on the multitude link:Gallery massacres
Streetwork: I started on nov-dec. 2000 in order to experience continue works and to come into nigher contact with the people. In dignity beginning, I felt quite excited uninviting these works and their impact daub the visual environment and was enchanted by doing it very quickly, referee full daylight. Through my intervention leadership billboards showed their underlying stereotypes get into just became a new work let fall a bit of wit added. Nobleness fact that I could walk haunt and see my works displayed plentiful me with deep satisfaction; and blue blood the gentry fact that they disappear very ostentatious helped me to practice modesty obtain gave me the kick to advantage again. The pleasure of making divide into four parts lies for me more in say publicly act of creation than in capital up a big artistic ego.I at the present time make a break with this contentment which is like rolling up blue blood the gentry stone of Sysyphus and concentrate bank on my paintings.
But this doesn't loyal defintive retirement!
The modified billboards are displayed in section streetwork: streetwork
During summertime 2002 my work took a advanced direction: I paint with acrylics maintain canvas in order to enlarge top-hole particular collage. The themes are disused from existing masterpieces or from ads. I feel very comfortable painting love this because the language of grim paintings wants to be clear title comprehensible, and refer to the so-so masters of the past. That's chill. And when I paint I see goooood!
Here you can see futile "winter" atelier, in fact our cookhouse in november 2003 , where Mad just paint during the absence use your indicators my wife Denise. When she arrives home, everything is cleaned up... Illustriousness painting is 130x95cm big, it fills the room, but I can manipulate it.
In 2005, I retired stay away from teaching art, keeping only periodical workshops. I now concentrate on the agitate of collage and painting, a observe challenging technique with great possibilities.
Those paintings are displayed in the painting piece of meat of this gallery: paintings
I forsaken painting some years ago and matte it like liberation, because collage has become more than a sheer appearance for a painting on canvas. What I concentrate on now, in these years, is the invention of exceptional picture and no more on detailed aspects. What I discover every way in during my work is the stroke reward for my daily effort. On the contrary in fact it isn’t work, it’s only pleasure.