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Why Don't You Love Me? Print

Thomas Steyer


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About The Artwork

A blue painting with a concentrated area of red brushstrokes. The blue contains hints of a complex structure that was partially painted over or only hinted at from the outset, but which nevertheless raises many questions. The bright red, bordered by a darker red and warm pink, stands in striking contrast to the blue. It's applied impasto and flattened with a palette knife. Its fragmentation suggests an excitement of a personal nature.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:8 W x 12 H x 0.1 D in

Size with Frame:13.25 W x 17.25 H x 1.2 D in

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The motives for my paintings arise from life itself, in its action and reaction spontaneously and self-propelled. Painting doesn't come easy for me. Every now and then when I try to express something, it ends up looking like something completely different. It may be a mood, an experience, maybe a vague idea ​​how to make the world a better place. Then I build an emotional connection directly to the work, hate it, approach it with destructive anger until suddenly something exciting emerges that fascinates me. In the end it has less to do with the original intention and more to do with my real condition. Other times I succeed in creating gems when I realize early on that some shades don't go together at all, nevertheless reflect harmony, or, if you like, aesthetic disharmony. I can never say how long it takes me to paint a picture, because the process often involves a lot of detours. I can't find a method for my work process and I don't look for one either. Every painting has something that is unique. I can only hope that the viewer will recognize my intentions. But since we all see differently, I assume that everyone has to bring something with them to give my work pieces their artistic aspect. My abstracts never get boring, in fact, the longer you look at them, the more interesting they become. | Before starting the painting process, I decide on a colour palette and mix the hues in acrylics or oils. Then I surrender to the moment and apply the colour with impulsive brushwork on to the canvas, while unconscious influences dominate the emotional process and determine the direction. | 1955 born in Berlin | 1957-1965 8-year stay in Istanbul | 1973-1976 Art study at HdK, Berlin, (Prof. Dietmar Lemcke) | 1976-1979 Study at Chelsea School Of Art, London (BA) | 1976-1989 13-year stay in London | 1989-2003 14-year stay in Sydney | 2003 Returned to Germany

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