STORYPAINTING: Methodology of a simulation-based cross-faculties hypothesis Print

Viewing this page (ARTWORKS), at first glance the works presented may appear incoherent. But by looking at my COLLECTIONS of three different categories of paintings clear consistency within each of those categories becomes obvious. You will find a juxtaposition of figuratives and abstracts: the dance studies and the non-figurative paintings. For the extra-category STORYPAINTINGS please find an explanation below and in the collection of the same title. ______________ I have been incessantly painting and drawing all of my life. Always fascinated by the human body, specifically in motion, I studied anatomy and also dance myslef in order to feel and hence better coprehend the movements of muscles and joints. In consequence figurative studies have become  omnipresent in my work. (Collection DANCE) __________________ Collection ABSTRACT PAINTINGS: Dealing with psycho-neurological findings, I am intrigued by the multifaceted and meandric interactions of conscious and sub-conscious levels. Accompanying bio-chemical processes influence our minds and bodies unceasingly, and sequences of neuronal reactions determine our perception and decisions. Reflections of that complex and intricate matter flow into my work and the use of multiple transparent layers of glazing oilpaint appear adequate to vaguely approach that accumulation of mental levels and their effects. ______________________ Collection STORYPAINTINGS: The funny ones. These socalled Storypaintings initially evolved from childrens books illustrations but soon made their way into galleries and were appreciated by adults. They are also published in fine art calendars along with Miró, Picasso, Klimt, Kandinsky, Matisse, Chagall. And also in fine art print editions. They are mainly ironical and nonsensical interpretations of historical, philosophical and other scientific content.