Of the Living and the Dead

“We don’t live on this earth, but in our dreams, in our conversations. Because you need to add something to this ordinary life, in order to understand it. Even when you’re near death.”
Viktor Latun

Life is a maze and only jesters can find a way through.
There are different ways to transmit information, but I regret, that my writing is like my artwork: locked. Neverthless, a guide to the art and what`s all behind of this.
My work isn’t only mine anymore from the first time different eyes looked at them, which is why I won’t keep all information for me and want to enable insight.
I’m open for questions, different opinions and discussions. Let the show begin.

 Of The Living and The Dead

Beyond the material and the intangible, the actual fascination and signification of art, literature and music lies in the (seeming) creation from nothing. Not visible for outsiders, are the process forming a work and having their origin in the depths of each individual. Inseparable connected with the own life. At least nothing left except the drawn line.

At first unknowingly, I used the convictions of a processing and depicting of a reality above the reality of the French surrealist-movement in the 20ies, initially as medium as option of self-reflection, visualization of subconscious processes and the search of a definition of reality as a result of the own self-discovery and the own position in a world with worth notions, which don’t correspond to the own, just to experience the non-existence of an absolute reality and their relativity with widening boundaries.

The surreal works are characterized by realism in style and content, gone and historical motives are part of it, which are characterized by their contrasts. To combine real structures with abstract ones, to change known things, to create a distancing and estrangement in order to bring fragility and irrationality into a world, which only consists of  illusions of security and control. To see an inestimable value in self-evident things, to change minimal to interpret the reality. What once began as a search, with the question of what our world is, developed into time-critical themes.

People with animal faces, vanishing figures are supposed to tell us that we once existed but no longer matter. Skulls show us that we are transient.

The history of transience in literature, poetry and painting goes back to the middle ages, where it was an important motive in preaches as “Ubi sunt qui ante nos fuerunt?” (lat.: “Where are those, who were before us?”), as “Vanitas” (lat.: transience) in the Renaissance and décadence-poetry around 1900. It’s not only a mirror, showing us our own mortality and insignificance, but gives special value to our own work, directs the view into the past and can be understood as critique of the present social life at the same time. In this sense a balance between helplessness opposite the natural circle of life and death and our control over our decisions how to life, how to shape the present and the decision about our legacy. The same thing, that brought Breton to surrealism and the subconscious mind, brings me to realism, which forms an important part of my surreal work: War and trauma.

Contradicting perspectives, blurring contours. Figures being inconsistent with reality are portrayed with cryptic gestures. With a hint of real shading and depth. They stand in front of us and avert their gaze. As definable as dream shapes. The Truth, The Liar, Loner are titles of scenes and portraits, which are similar to biblical infernal representations, but are built up only from symbols. Like black hands, skull faces, burning dogs, destroyed and incomplete sacred and profane objects, which refer to dogmas and axioms. They are signs and symbols, standing for itself or only finding their meaning in concept and arrangement – creating pictures, the details of which each one had its original and unchangeable place.

The importance of existence can be found in their futility. Like the inner experiences of each individual, the own personal past, of the family, of the nation, of the world belong to the reworkable legacy. It is conscientiousness and an attempt to live up to the past and to give it meaning, in its own existence. These aspects have way more romantic character than a symbolic one. Despite of love, peace and familiarity to nature, industry and cold barren landscapes find their way into and nostalgia – a complete reversal of what became the content of Romanticism in times of industrialization, but for the same reasons. The longing for the distance, for the freedom, happiness in a foreign country. Knowing that restlessness doesn’t end by arriving a new, foreign place, not to have the hope to find a better world, but the opportunity to create something, to find a place, which is silence and cold in perfection and people, through which one get the knowledge whether one has arrived, whether one will ever be and the decision whether one should it.