Utopia - no place
Technique: “I am painting out of light. The canvas is the monitor of my computer.
Since 2001 I have been making images on the threshold between photography and painting.
Some questioned whether the work may even be called photographic.
Although there are photographies included, it is no photo and there are no negatives.
Originally my approach was to create new images by reorganizing forms & colors of photos with computer enhancements;
but the work has evolved beyond that.
As a tool inside the virtual canvas I continued by adding digital paint to the photos and drawings.
It evolved to a mixed media collage In the process.
Subsequently real paint, scanned and digitally processed have become part of some of the works.
I keep on exploring new possibilities…"
The artistic handling with digital tools (brush), transparent pieces from pictures (scissor) and plug in filters cannot be compared with those followed in former times. But undoubtedly, the connection link is the law of composition and the appearance as a Painting or a Photograph. Traditional Painting as a mental substrate, extended by atypical ways of treatment, unusual coloration and electronic conjecture. Photographs shredded and enslaved for extended versions of reality. The material disappears, stretches out into a spatial depth and forms a surface with surreal texture.
A complex screen layout renders help to an expressive tendency where the different picture elements join themselves into a homogeneous and new language of impressive efficacy. In spite of the strangeness, the theatrical scenes, causing direct attraction of the viewer - stimulated by a world, which seems to be different - imply a higher sense but still familiar. They illustrate the procedure of a mounting and conversion from invisibility into reality. The unseen arises in a perceptive light. The sublime secret, not-say-able becomes vivid.
From where does it mount? Whereby is it transformed?
The phenomenon causes susceptibility for the existential implications of being yet gives no answer to the questions on the composition of their nature. The unique visual language understands to penetrate superficial agreements in the quality of seeing. References to mythical themes appear unexpectedly, without ever intending to. What can be seen hardly is concrete rather simultaneously distraughts and makes euphoric, but also explores the beauty in it.
In order to regain our metaphysical rootedness and by going beyond usual social communication contents the images entail and make possible a new appropriate view in the today's time of art; without to endeavor the myths of past cultures. Our Urfiguren dipped into new life.
Here are creatures which are not attributable to biological genus, but exist solely as an imagined shape. How in these worlds the "living" appears as a morphogenic form, that is the cryptic act of this work. Something conscious sticks to it; as if it wants to express something what no thing ever could in reality. It is present as intrinsic, as a characteristic in an alive cosmos of forms.
Theatrical image spaces, atmospheric conditions and effects of different places and situations rise into transcendental, poetic images and objects. Snapshots, which record a short snippet of a more comprehensive process in fact. The magic of our lives.