schueler farbraumbilder
 
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Selection


 

ll-in-a-memory-1996
das Land verbirgt seine Mitte unter dem Schild eines Traumes-1999
Farbklangform I-1999
Farbklangform II-1999
Farbklangform III-1999
 Farbraumbild I-2002
 Farbraumbild II-1999
 Farbraumbild II-2000
Farbraumbild II-2004
Farbraumbild III-2000
Farbraumbild III-2004
 Farbraumbild I-V 2003
Farbraumbild IV-2002
 Farbraumbild IX-2000
Farbraumbild V-2000
Farbraumbild VI-2003
Farbraumbild VII-2002
Farbraumbild VIII-2004
Farbraumbild X-2000
Farbraumbild XII-2000
Farbraumbild XII-2003
Farbraumbild XIV-2000
Farbraumbild XIV-2003
Farbraumbild XVI-2003
Farbraumbild XVII-2003
Farbraumbild XX-2000
Farbraumbild XXI-2000
Farbraumbild XXII-2000
Farbraumbild-XXV-2000
Farbraumbild XXVI-2000
Kristallfeuer I-1994
Rotraum I-1994
Rotraum III-1994
Rotraum VII-1994
Farbraumbild XVII-2000
Rheingold-XVI-1998
Farbraumbild IV-2003
Kristallfeuer III-1998
Farbraumbild XXVII-2000
Farbraumbild XVIII-2003
Farbraumbild VIII-2003
Farbraumbild III-2001
Farbraumbild III-2003
 
 

Color Spaced Paintings

The term "colour spaced paintings / symphonic art of painting " denotes a notion of composition and colour scheme, which I have been developing and deepening constantly since 1994. The main intension of which is to evoke spatiality solely through my special method of colouring within the two-dimensionality of the "canvas " surface. This spatiality is evoked without construction of perspective or other systems of order and arrangements, - space appears only through the display of clear and pure colours. These hues are applied in the classical manner of watercolour painting which is worked out in many layers. Some of my works show up to 60 layers of different, translucent and highly thinned colours. These transparent layers give the possibility of many effects of depth and of light, that cannot be achieved with non- or semi liquid dye-stuffs. Other conditions to evoke coloured spatiality are the use of very high quality materials and the use of large formats.

The vision of room and space in the mind of the onlooker without the usual construction of perspective, is similar to an acoustic space when music is listened to. Which is why I subtitled my work the " symphonic art of painting ". This term illuminates the fact, that my style of painting is more guided by spiritual ideas than lead by the phenomena of the material world - as with music, which expressions can signify relations to my works. The essence of this kind of painting, that I work on and live for, is the spirit of colour; - the rhythm and harmony of the sound of colours on the plain surface is a special phenomenon with the quality of music.

The objects of the material world are not able to give leadership or to be an example, prototype or model for this kind of imagery. But in spite of this fact this kind of painting has nothing to do with chaos or arbitrariness; as the colours show a logical system of chromatics everywhere they are seen, in nature, and in art (German scientist, poet, philosopher and painter J.W. v. Goethe found out basic facts of an new theory of chromatics; - many artists (for example Runge and Turner) have worked with the system of colours he explored).

Recognising and working with this system, that Goethe discovered and which has an affinity to the composition of classical music, can bring out the "colour spaced paintings / symphonic art of painting". These images show a character of freedom without any symptoms of lack of will-power and irresolution (...which sadly can be seen in many works of modern art). The compositions of these paintings form through the polarity of darkness and light, passing over and marking off, centrifugal and centripetal forces, intensity and solubility of colours up to their material existence.

The result of this creative game with the afore mentioned polarities over a period of weeks, is a complex unity, built by dynamic forces and different qualities that hold each other in fragile balances. These works, on completion, do not exist to tell stories or describe material objects, but they are able - and that is their real profession - to talk directly to the sphere of aesthetic sensuality of man. Therefore my works do not depend on intellectual, highbrow speculations.

 
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