Inquiry 2 Painting

The way clouds pile up on the summer sky, the way they move, or the structure of the DNA in our cells which turns on its axis in slow spirals; these movements are basically the same phenomenon. Common and changeable, unique and often inscribed in systems like the one used in order to calculate “the Golden Section”. All of this can be found in my works, from cell divisions to the way in which the light changes all colors when the sun sets or moves behind a cloud. All these things inspire me. I want to invite the beholder into a world where there are no or few words.Therefore my works often are untitled. I feel that the title closes and directs the viewer´s sensation. The universes and atmospheres I create are for the viewer to investigate and experience. It takes some time to behold them - just as they also take a long time to create. The paintings are build layer upon layer. I let a little bit of the previous layer shine through and focuses deeply on the brush stroke as well as on the entirety. Concerning the installations every single form is hand colored and cut by hand. In all my works the surface, their texture, is important to me. It expands the field of sensations. During the process I constantly adds a little and removes a little, so that opposites like light and dark, empty and full, cold and warm are constantly kept in a state of tension. Often there is a correspondence between forms in the background and in the foreground. I work with a kind of lack of control that gives reminiscences to the technique used by artists especially in the 1930´s. Then artists in especially France and in the US, did experiments with intuitive forms of expression like automatic writing, the lucky chance - or sheer bad luck. I search for the sublime moments, a concentrated contact, a state of perception and awareness, which hopefully creates a work that allows the beholder to step into another room - another state of mind. My version of the lucky chance demands total presence and alert intuition of me. In the acrylic paintings I leave a trail of water, which is left long enough to dissolve the underlying paint. The length of time passed before the water has to be wiped up is a matter of feeling and experience, similar to when I draw with fluid paint on the canvas. when I cut the forms I have no template, they occurs from an inner sensation. In most of the techniques I use, even the tiniest mistake is irrevocable and can change the whole expression of the work.