Between all the house restoration work, I had time to do another painting. When doing a full house restoration we really start from the bottom, removing everything what was added to the original structure of house, leaving us with bare walls, without floors and ceilings, left with the rough, basic foundation.
When we are done with our restoration work, a shiny and beautiful surface is visible and make people feel welcomed.
This is what I had in my mind when creating that new painting.
The bottom is made with concrete and the finish on top is created by several coats of lacquered oil paint in a bright, warm and sunny yellow.
Even though I need to apply some last layers, I want to give you a first impression.
Space to store my paintings wasn’t a real problem as I nearly sold everything after a short while, but not all, of course 😉
Those paintings which are still with me I put back in big cartons and shuffled them around in our cave. But then, we had a water problem and it was just in the last-minute I rescued my paintings for being destroyed. Continue reading “Storage for my paintings”
After a long pause, caused by a water damage in my little atelier and due to lots of renovation work, I started painting again.
This time, I layered oil paints over ash and washed them away again and again to create subtle effects. It’s a play of appearing and disappearing, of strong presence and nebulous absence. Like memories, they come and go, sometimes they are very clear and sometimes you wondering if an event really happened or if it is just in your imagination.
After a long break, I painted a little bit again yesterday.
Well, it was more of a few exercises to try out some new materials and a different format. Everything should be very small, at max. 5 x 7 cm. And that was and still is the biggest challenge for me, because painting in such small formats I found extraordinarily difficult. So I experimented a bit with ink, silk, pastels and marble flour on paper.
Somehow that was quite exhausting for me, I felt very limited in my workflow by the smallness of the paintings.
I think abstract painting demands big formats and I’ll go back there in a few weeks.
J’ai été invité à montrer certaines de mes peintures à l’exposition annuelle de l’association d’art L’Atelier à La Palme.
L’association a été créé en 2012 par des personnes intéressées par l’art. Ils offrent des ateliers mensuels où vous pouvez apprendre les différentes techniques artistiques, allant de la peinture Aquarelle à la céramique Raku. Ces ateliers sont donnés par des artistes bénévoles ou professionnels, pour initier ou perfectionner dans la bonne humeur et la décontraction, à diverses techniques artistiques. Continue reading “J’expose à La Palme”
Vor zwei Wochen habe ich ja eine Lösung erhalten um einfach mit Kaufinteressenten in Kontakt zu kommen und nun sieht man auch auf der Portfolio Seite sofort, welche Bilder noch käuflich sind. Ein Bild, welches bereits verkauft ist, ist mit “Sold” markiert, wenn man mit der Maus darüber fährt.
Alle anderen Bilder sind demnach noch erhältlich, nähere Informationen über verwendete Materialien und den Preis erhält man, wenn man auf das Bild klickt.
Die technische Realisierung ist hier und hier beschrieben.
For this painting I left a bit my usual way of mixing natural pigments with different media to create in-depth nuances of one or two colours.
Here I just used gesso and mixed it with ash and metallic silver paint. This melange resulted into something very organic, with wonderful, random structures and colours. To me, it looks like the walls of a cave, deep under the earth, with metalliferous lodes. These imperfect, coincidentally structures contrasts with the perfect shape of the pink square in the corner. Somehow, that’s just like in “real” life: there are things that we can plan, develop and create exactly how we want them to be, but many things just happen by chance.
The challenge is to balance both.
Making that painting was a real struggle for me, on the one hand technically and on the other hand emotionally.
I used different blue pigments in different solvents which still reacted with each other long time after I decided the painting is ready, but not in the desired way. The components changed colours and structures and I needed to find out what happened to be able to correct it e.g. use it. Thus I tried different compositions on smaller canvas which resulted in a little series of blue-greens.
The technical exploration was fun and I learned a lot. The other side of the making was more difficult. I thought of a person close to me and to whom I am strongly tight emotionally. Our relation was not that easy over a long period, when I did not get the care I needed, when I did not understand decisions imposed on me, when I was lost and sad.
It changed over the time, as we both were able to talk to each other on equal footing.
That painting expresses all my ambivalence how I see this person: the deepness and the impenetrability, the beauty and ugly, the strengths and weaknesses, infinity and finitude, steadiness.
Hard as a rock on which you can crash, but also can provide protection.
There are places in this world, I have to go there again and again and so I went last Friday. Roussillon, more precisely, the Conservatoire des ocres et de la couleur is such a place. Here I learned all the old techniques of wall plastering, here I always buy pigments and tools for my paintings and wall design, here I get advice and answers to technical questions.
This is such a beautiful place, it is so pleasant to stroll through the rooms of the old ochre mill and get inspired by all these wonderful colours.
And of course, I always find new pigments, this time a new blue 🙂
In the 18th century, quinine, obtained from South America was the expensive medicine used to treat Malaria. Because of the high costs, chemists were experimenting to develop a synthetic equivalent, so did W.H.Perkin. He did not succeed in creating quinine out of coal tar but accidentally discovered the colour mauve.
I combined violet pigments with some green mineral pigments, mixed them with a light grey in cold wax and acrylic to create a more soft, subtle, undecided appearance.
Mauve was long time a colour preferred by noble women, such as Eugenie, the Empress of France and thus became very fashionable for some decades but this trend burnt quickly.
For a long time, the greyish violet was often related to old women and not popular at all.
This might change as Pantone declared ultra-violet the colour of the year 2018 and I guess, all it’s shades will become fashion again 😉