The pictures of the "Rockfaces" series differ from my earlier work or from that of other artists that
are usually seen. They are portraits of stones, or better of rocks and rock formations. Portraits of a nature which appear like abstract images.
They are not painted with a brush, but filled with sand and acrylic using a spatula. So far I had generally
painted expressively, with acrylic or oil, and the representation remained concrete. Landscapes, architectural, human beings, etc. But especially nature offers so much more than it's visible surface. And
expressionism has evolved even further, think about the styles of abstract expressionism or the "dripping" technique of a Jackson Pollock.
So I put the brushes aside and took the spatula. I put the purchased colors aside and collected sand - which
reminded me of Cezanne who said: "To paint a landscape correctly I must first recognize the geological stratification." This layering appears in my environment in several places. You just have to open your
eyes. It's all there. All lines, all shapes, all colors. They are already a painting and let you imagine the unbelievable forces below our feet that formed and still form our landscape.
Are my pictures abstract?
Only in parts. What is missing is the spontaneous impulse that creates many abstract images. The informal painting,
think about Emil Schuhmacher or Jackson Pollock, is not my thing. I plan very carefully and try to construct and harmonize something unique from what I see, even though it's prescription is already to
be found in real nature. Theme and material are already there; I only redesign to preserve it, the momentary and also the fundamental. Each day changes what I had seen and felt as a past. This place in the
mountains, this unique rock formation, this layering there behind the curve - can not be seen the same way again a month later. Landscape is movement - and you can feel it in the earthy details of this
was always anxious to find constructions and harmonies parallel to nature in his pictures.
Meaning: not to depict nature, but to compose it anew in it’s natural appropriate with color, structure and style.
In his paintings he replaces the optical reality by a formal structure, by a pure surface of the image. He
plays with geometric shapes and almost reduces objects to basic shapes like circle, cube and cylinder. The spatiality of an image is created by the construction of colored surfaces and not by a color
perspective (in which the colors become paler to the horizon to produce the depth of space). Cezanne defines light and shadow, volume, depth and surfaces through shades, through their contrasts, through color
transitions. Cezanne develops nuances of color that remove the contours of things and almost obliterate them. In his perception even a mountain is conceived as a superimposition of forms, spaces, and bodies
that rise above the ground. And these spaces and bodies develop into colored surfaces.
It is a creative process that materializes nature anew. Cezanne was aware that by painting he had to change the
natural image in order to preserve it. "Nature always stays the same, but nothing remains of her visible appearance. Our art must give it the sublimity of permanence”. Through the
colors and their novel composition, their structure, he wants to create a picture-order parallel to nature. Cezanne does not want to depict nature as it is in an instant, but he wants to grasp it as essential. And
he wants to express his emotions on the stage of this nature. That is why he paints it. What mediates between the things and their sensations for him is the color, leaving open how far it originates from things
or is an abstraction of his eyesight. To find construction and harmony parallel to nature, this is what means landscape painting to Cezanne.
To the collector Karl Ernst Osthaus, Cezanne emphasized on 13 April 1906 during his visit to Aix en Provence:
The color must express every leap into the depth. ... "Nature is not on the surface, it is in the depths. The colors are just the expression of this depth on the surface. They rise from the roots of the
Seen this way I have the same reason and the same emotional motive as Cezanne, to deal with nature in an
artistic way - but to mainly use color as a medium is not my approach.
I read the changing morphology of a landscape in it's details, in crumbling stones, in the cracks of the rocks,
in the breaking of the walls, in the trickling of fine sand from a hollow. Rock and earth in their transformation indicate the unstoppable progress of time; the passing and the emergence - also of life. It is a slow
process - but if you watch it regularly - it seems to be getting faster and faster. The matter is not organic, it still is rocks and stones, but the process is very lively, ongoing and everlasting at the same time.
And this process gives birth to very beautiful and infinitely diverse structures that fascinate me, and whose representation and processing amaze me. My paintings show lines, shapes and sometimes bodies in existing
but also composed structures of a visual reality.
That is why I call this style Realistic Structuralism".