Blau über Blau (blue over blue) Collage

I admire the conciseness of Japanese haiku, the contemplation in the works of Agnes Martin and Marc Rothko, and the magnificent colorfulness in the late work of David Hockney. In the silence of the music of Eric Satie and Jan Garbarek, I breathe a sigh of relief. Full of admiration, my imagination travels with the writers who are able to create with their language images and places that embrace the whole person. For many years I have been exploring the fine line where a line ceases to describe an object and begins to move freely in space. I am equally amused when I observe how the line that the pencil I wield leaves on the painting surface bends, lays and stretches into representational objects. I like to play with the readiness of the brain to interpret small hints. In the patterns of old and new textiles I discover a visual language that inspires me. It also flows into the new cycle of paintings, which was created under the impression of the Corona Lockdown (Touched Nature). The events and conditions in the current Corona period made me think anew about nature and the influence of man. Looking at this cycle of paintings, I discover my doubt in the integrity of nature, which is visible in the shapes and colors, and a great confidence and lightness. My stay in Denmark by the sea gives me completely new encounters, impressions and experiences. I am looking forward to a new phase of work and I am curious how my life in Denmark will be visible in my work. I live in comfortable conditions in a beautiful environment and I know how happy that makes me. I give my lightness, confidence and thoughtfulness out into the world to enrich, comfort or delight others. - Can you tell us about your artistic approach? (Style, medium, and specific techniques.) I look for lightness in my art. To do this, sometimes I need the grand gesture and other times precision. My lines, when they are meant to be gentle, are created from liquid colors, such as inks, inks, and diluted acrylics. When they need to be rough and powerful or aggressive, I set them with great emphasis from oil pencils or crayons. I like to build my own "hand extenders", or sometimes paint with my bare hand. To keep the colors in their most intense luminosity, I use pigments that I bind with egg tempera or acrylic binder. After working as a graphic designer for a long time, my tools are the line and the surface. My lines, colors and surfaces want to play with each other.