"From chemistry to biology to medicine - Despite my everlasting love for artistic-craft activities, I decided to become a natural scientist. The initial driving force was my enthusiasm for colors, whether they were produced chemically or organically - later it was the curiosity to understand how nature works and creates such wonderful plays of colors. Thus, a whole new world opened up for me, first in chemistry, then in biology. Research on living things still fascinates me today and always triggers curiosity. Later, as a scientist in medical research, I became convinced that a knowledge-based understanding of human physiology would lead us to maintaining health and healing people. Today I know that the exploitation of one's own potential, the curiosity and the joy of self-created work should never stop and keeps healthy and active. Because "Without health everything is nothing! (Aaron Antonovsky).
With each of my paintings, I sit in front of a blank canvas and an abundance of colors. As a scientist, I could calculate how many possibilities there would now be to create a new work of art. It would be almost infinite.
Even as a small child, bright colors fascinated me. I collected everything that was colorful: the intensely colored transparent papers in which the oval fish cans were wrapped, colorful ground glass shards, candy wrappers and wrapping paper, and many other colorful things. I kept my treasure in a small box under the bed and always secretly admired my finds. The world in the sixties was not as colorful as today's, colors were luxury and many things were gray in gray. In my treasure chest, however, I could revel in a colorful world. The joy of the rainbow of colors accompanies me to this day.
As an artist I do not create representationally, but create from my thoughts, emotions and imagination something new, unseen. What I recognize in the pictures, I work out artfully, so that others also discover it for themselves. Therefore, I develop my acrylic flow technique methodically to always create something new.
Coming from the watercolor technique, the acrylic casting technique opened up completely new possibilities of form and color design. Thus, depending on the transparency, the respective pigment component, colors can be glazed feather-light, contrasting juxtaposed or translated into flowing color gradients. Organic structures and plays of form and color are created - not by brushstrokes, but by a casting technique, plays of form and color that are artistically shaped by spatulas and other tools.
Wave rider - But shaping the casting process artistically, surfing the "pouring wave" so to speak, is what makes acrylic casting a creative process for me in the first place. In order to determine the flow of the color and to create resulting forms, I use my physicochemical knowledge and my manual skill spiced with creative esprit. Thus, in the course of the creation of the picture, there is a dialogue between the color flowing on the canvas and my artistic hand. The recognition of forms makes this creative process.
Motifs - Every day I encounter inspiring motifs that take root as images in my mind. Some remain and transform before my inner eye in "my picture". From then on, the process of creation does not let me go, because the image wants on the canvas.
Materials - What colors and materials will I use, what technique will I use to create the picture? What new artistic effects do I want to achieve? On small tiles or canvases I experiment with the materials until I find the appropriate technique that brings my image in my head on the canvas.
mixture - Similar to a chef who compiles the list of ingredients for his dishes and conscientiously prepares the ingredients, I put the colors together in a coordinated manner. In a second step, I transform the pasty paint into flowing emulsions of color, so that on the canvas they fluidly touch at the interfaces, overlap and intertwine.
Pouring - Even during the pouring process, when colorful color cells form at the color interfaces and sprouting landscapes emerge, I give the forms a character with quick spatula strokes, glass marbles gliding across the canvas or cheekily placed comb tines. In this way I bring dynamism and liveliness to the composition and create life-like forms. The viewer's ability to paradoleia turns it into an artistic image, a recognition of motifs familiar to us. After drying, the work receives a varnish sealant so that it remains permanently elastic and colorful.
Release - And now the detachment process begins: the framing. The frame places the image in the viewer's midpoint and separates it from the ambience. For me, the painting is not truly finished until it is released from the stretcher and enclosed in a mount and frame. The cutting of the painting from the stretcher, is indeed an incision, because from now on nothing goes. I detach myself from the process and release my image. Whether it has endured before my eye, I recognize but only when it comes through passe-partout and frame in the appropriate ambience to the effect.
