to climb through one's sweetheart's window Painting

I use all the traditional art genres: drawing, painting, sculpture and installation. To view the different genres separately use the link to "Collections". The biggest part of my pictures shown here are the "Overpaintings". It is a method of painting over print media, with which I can unite the entire history of the pictures.. Historical or contemporary, all images combine the complexity and heterogeneity of life. Cultural history or images of everyday life are processed by me and fit together in the methodology. Some motifs are executed on the original pages of the print medium. For that I use the term of recycling art. Never in the history of mankind has there been such an inflation of images as today. With the overpaintings I work against the flood of images. All 2-dimensional media that I create have one theme in common: layers or overlays, be it color, line or montage. For 3 years now, my main focus has been drawing again. The following text explains these current drawings. Synchronous optical world The layering in my drawing. The aspect of layers in the two-dimensional medium has been a recurring feature of my freelance work since the beginning. Overpaintings of print media, performative folding pictures, glaze cast pictures, computer montages and overdrawings from different, overlapping motifs. When it comes to overdrawing, the technique of drawing is imperative for me. Figuration is based on form and that is the domain of the drawing. Only the drawing with its linearity enables such a complex differentiation of the overlapping, figurative motifs and can therefore best be realized with this medium. Other methods do not achieve this transparency. The layers of the drawing show a moment of the simultaneous. A view that is not causal, but simultaneously and parallel. In the same place are different, interacting motifs that show their individuality when viewed more closely reveal. I experiment with different pictorial spaces that are brought together in a meta-pictorial space up to the limit of abstraction. Each additional overlay overwrites the one below and crosses it out. The more numerous the overlays, the more homogeneous the meta-space and the motifs become in an abstract, informal structure. A relationship between self-contained independence and referential togetherness.