K o n t i n e n t (1) Painting

Nussbächer working on the dissolution of form in favor of color. Without sketch without sketch, even without any mental conception it begins its work. The events on the image itself direct the rapid painting process. "The image developed practically from itself," says Nussbächer, the ratio will as far as possible by notching the compulsion to respond quickly. "Thinking is not a strategy that further helps me to paint," he says. ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Without clearly defined plan, the images are created. But not without a goal. "I know the goal, but do not know how to get there." He says. His paintings are based on certain, even long past visual impressions. Each of his series, it often employ a year or more is determined by a predominant color, which refers to multi-layered semantic fields. "My paintings have to do with the elements (fire, water, air, earth), so also with nature and landscape. Of course, no real landscapes. In the broadest sense, all his pictures with the elemental powers, also have "natural" to do. With visible nature, with natural feeling and with the nature of feelings. "It's the landscape forming elements seen through a magnifying glass," Nussbächer calls his approach. This also makes him a descendant of romanticism. Unlike them, he infiltrated even the possible impression of an idyll by the design of the surface, by the reaction of the materials, ie through the cracks and stains, nicks and popped color bubbles. The color, for him a visual archetype, it sets in of material, as well as psychological and symbolic importance a. Red for fire, embers, blood, love, passion and violence. The complementary color green / green blue for water, depth, mystery, for transparency. Nussbächer so performs the traditional landscape painting in a color painting of the elements further. Here the elements, in a nutshell, as the often monumental Allover vertical format: in Nußbächers images intertwine macrocosm and microcosm, Spiritual and picturesque practice, Thought and action, Visionary and material things, intuition and calculus. Some images are prepared in a mixture of pasty and more transparent painting. If you have any questions please don't hesitate to contact me. Thankfor looking!..