abstract informal no 1999-887-1 Painting

Robert was educated and trained in art and design at the University of Applied Science in Bielefeld/Germany in the period of 1985 to 1992. Important subjects : free painting under Prof Dörries Höher, art history under Prof Günther, photography under Prof Dr. Gottfried Jäger and finished with a degree in fashion design under Prof Edmondus Sugiarto. From 1992 to 1995 he lived and worked as a designer in Montreal/Canada and in Hong Kong, where he intensified his view of art in protrait and landscape painting. After being back in Germany he decided to move to New York City/USA to study nude drawing and abstract painting at Stacy Studios under New York Artist Don Stacy from 1997 till 1999. For the past 30 years Robert is blending art with fashion and vise versa. His intuitive and sensitive understanding of color composition has great impact in both, his art and his fashion. This on and on revolving creative and new interpretation of color had always been key factor in his positions for great collections like Champagne, Marc Aurel, Cerruti 1881, Féraud and Kemper. His love for architecture is reflected by modernism and abstraction in his art and is underlined by his strong and striking signature marks within his works. His art can be seen at art collections, fairs and exhibitions through North America, Asia and Europe. A Journey into Light, Color and Space (an analytical interpretation of his 2012/14 solo exhibition tour) Apparantly in an intoxication of color, Robert is painting his pictures within a deep complexity and releases them of any kind of strict, structural attribution. Rather than this you find plurivalent playgrounds, which are reflecting his technique to apply and remove layers and layers of color and color sections. A world of color and light is blooming across his canvases; very fine, glossy layers of color alternating with a powerful and striking signature mark and connecting to a brutal context and conclusion of color compositions. A considerable part of the effective force of his painting procedure is based on the utilization of our naïve and unspoiled ability to regenerate this specific condition of an innocent vision; in this powerful chromaticity of his paintings the analytical way of visualizing is shifting his work to a new level of unspoken mystery. Not the intellect should analyze the picture, but intuition and feeling may impress the informative value and are designing this play of light and color.