Since 1996 I started to paint with figuration. I worked with objects and with objects on shelves fixed to the paintings in a very associative way. I refrained from judging the content, images and composition before they were on the canvas.
In the years 2000-2008 I was also working a lot with the computer. The Digt_paint years (painting with paint and pixels) were important to work more quickly and try out a lot in composing and finding content.
Since 2006 I started to work with only paints again. In this magazine I will show the highlights. Characteristic are the contradictions in one painting and in each painting separately. This has always been present in my work, contrasts in the use of material, art historical quotes, themes and painting styles. My paintings contain a multitude of images and associations, which can be confusing in terms of content and art.
In every painting something pinches: an opposition. One painting yields in a clear image and in another your thoughts keep circling around. The coherence in the work is not easy to discover, but requires an accurate associative investigation from the spectator.
What for one spectator is a cacophony, is a feast of color for the other.
I used to photograph my paintings outside, hang them on the sound barrier along the motorway, or lay them on the ruin of a building. Now I use objects as foreign elements, which refer to something outside the painting. Perhaps it is impossible to break through the introverted world of the painting or maybe there is enough friction to confuse the viewer and the maker…
The nice thing about painting is that so many already has been done. For centuries paint has been messed with and in many different ways, a quality that can’t be matched by any screen. That is why a painting must also be ‘painted’, you must see the paint, no matter how thin or empty some pieces are: not only use the material, but also listen to the material…..