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For the second semester I chose double painting. The reason for this was clearly to develop more technical insight into painting as I hitherto developed my paintings only from a linear perspective by using an incremental and experimental approach, meaning that I had no idea in mind first, but I rather started to paint one specific shape, from which on the painting is developed

step by step

- single decisions are taken as a

reactive response

to the emerged state. This process would usually happen until all the single decision steps converge to a state that satisfies me. The same process was taking place in my digital editing work, where I like to combine photographs of painting, of real-world objects or abstract structures.

As desired to happen, this semester, I got to know this

technical approach

. Being especially fruitful for this was painting from real life or figurative subjects, as it gave me more pre-set


on how the painting develops in comparison to my previous abstract painting. For the depiction of figurative subjects, I would start to make drawings and sketches first, while precisely


about which steps are to be taken onwards so that my painting is keeping some reference to the original subject. During the painting process, I still often had to change ideas or concepts as colours didn't behave as expected or my hand was moving in a way searching for the freedom it had before, and somehow escaped my set restrictions when I was not attentive enough. I learned that it takes a lot of

energy and focus

to work with full colour, light and dark, and contrasts in order to achieve something that you have precisely in mind.

Moreover, at some point I found myself


of trying to

approach a photo-realistic or pre-set depiction

of the subject, which I somehow immediately and naively tried to achieve when thinking about technical skills. This made me reflect on my

position towards painting

and what I actually find most interesting about it, as my behaviour, having all these techniques in mind, first seemed to oppose my actual interest in painting, for which all these techniques can obviously be helpful as well. I had to think of some favourite painters of mine, including Fritz Winter, Joaquin Sorolla, Broncia Koller-Pinell, Egon Schiele, Koloman Moser or Gerhard Richter, and that in all of them I find the


of real life sceneries or patterns in connection to the use of colour and the specific painting flow the most interesting, as it gives us insight on


towards the world and on the artists

emotional constitution

, and I started to study and

see their works differently

with the taught techniques in mind. For me, painting (as well as drawing, the body language or the use of your voice) has a very


translation of established attitudes and emotions in human beings, as you can also find it within the individual handwriting, and I find it of high interest to use painting also as a

medium of self-reflection and self-expression

within my own work.

Still, acknowledging that the taught painting techniques can be helpful in

any kind

of visual art work, I was wondering to

what extent

I want or need to become able of applying these techniques within painting for my future work. One reason for this is, of course, my

lack of technical painting skills

and the impression that it would still take years of hard work to achieve those, and if this time would not be better invested in thinking about the

content and concept

behind the work more intensively. For me, it is a much more efficient, direct and intuitive choice to use

photography and new media technologies

to depict what I find an interesting scene in an artistic language, where I can easily embed figurative subjects. With digital editing, I am facing a huge amount of decisions that can possibly be made and undone at any state, which is why I see the challenge for decision making compensating the advantage of being able to apply painting techniques so easily in a simulated way. Nevertheless, when thinking about the

presentation of digital work

, I am struggling with the use of screens or prints, as these media have different inherited qualities than the painting with its distinguishable feature of rendering the painting process visible by making the

physical features

, as results of the artists actions, traceable. Rembrandt is an artist I always have in mind when thinking about the characteristic quality of his gestural use of thick oil paint, especially within his later career. Therefore, I am still thinking about solutions for this


in future and how to solve this, and it might reveal that for this I need to develop this technical knowledge in painting, e.g. for transferring my digital work onto the canvas. Thanks to this semester, I have a better understanding of what amount of work this would require.