HANAN HELWEH

 How was Petra Reissman's painting born?

 Due to my father's profession (interior designer), I was involved with creative processes at an early age. I have renovated and designed old buildings. 10 years ago I discovered painting for myself and 5 years ago made it my profession

What can we perceive in your works?

These paintings tell of light and shadow, departures and unions, but in fact in all of us there is this everyday duality. The paintings have an affirmative, an optimistic, a future-cheering statement, in that life is presented as something beautiful

He tells the series of works "FUSION, is there any particular passion in these works?

The series Fusion is the union of my earlier painting style of the series "Deep Layers" and "Reflections". I began by layering the different materials on top of each other and then remove again until the deep layers are revealed again and thus allow the view into the interior. Consciously I work in the deep layers with gloss, so that when looking inside also creates a reflection

Series fusion 

80x60 cm

When you see an abstract artwork, what immediately strikes you?

Abstract art fascinates me, it leaves room for imagination and interpretation. Art, especially abstract art does not necessarily strive for reality.

What was the moment when you decided to start painting abstract works?

My path to abstract art was relatively short. After geometric shapes and the representation of various objects, I very quickly realized that the representation of reality is not my interest and henceforth devoted myself to abstract art.ow is your perception of art today compared to your first works?

I wouldn't see it as a difference so much as a development of my art. I have now created a style of painting that has a high recognition value not only among my customers.

Series fusion 

150x110 cm

 Is there a painter who inspires you in a particular way?

There are several, but Pierre Soulages is the one I like the most.

What it means to be a painter today and what advantages the technological era we are experiencing can give ?

Painting means to dive into another world, detached from time and space.
Virtual exhibitions open the possibility to present the art to a wide audience, but my paintings are better appreciated in real exhibitions. Direct contact is also important and inspiring for my clients and me.

Projects for the future?

In November I will be represented by an Italian gallery at the Discovery Art Fair in Frankfurt, and in spring I will be in Milan with my Spanish 

  How did you come to abstract painting ?

I think I would tell you how I came to painting at all. This was around 20 years ago, when a nice italian lady read my palms and said I would be an artist. This sounds kind of superstitious and believing in everything…. but since I always admired people who could paint and thought I would not be able to do it - I started.
And the abstract painting was like a necessary development. As I am a very intuitive person and painter, and I have a good view which colors, structures and forms fit together, abstracts are easy for me to paint.

What is your source of inspiration ? 

In the artists world inspiration could be everything.
For me it’s the color itself: I could see for example a pink and yellow ball and it would inspire me to paint pink and yellow. But of cause, when I need inspiration, I take a walk in the nature which could be forest or beach both. Love and joy will always be inspiration for me. The main point is the light and the lightness. When I am in Andalusia, where I am also living, I love the morning light, or the light on the sea which glimmers, the evening light showing itself on the white Andalusian walls and at least the lightness the sun brings to the people.

 

When you see a work of abstract art , it sends you immediately ? The shape , color , or the manner in which it was made ?  

It is more that I feel abstract works. And first of all I love the colors ( if I love the work ),
they have to match or if not, they must give the painting an interesting exciting aspect.
What I love in abstract art is the colorplay which has to be special and different. Of cause I notice the technique and find it more or less interesting.

 As you have gone through this difficult period Covid , he has influenced you ? And in what manner you believe that he did it in relation to your creations ?  

This period gave me the chance to retire from my longterm profession as Natural Practitioner and Psychotherapist. And this offered means an artist more space for being creative and starting an artist career
 

What do you think of the digital age , do you feel comfortable ?  

For sure, it has been important and useful in those lockdown situations, but, sincerely, I love to touch things, I love tangible art and I hope that the art market will not need it to be digital.

 Tell us about future projects.

As I am studying at a Free Artschool I hope to learn and develop more and more. I love to learn sculpture . And I am dreaming of having Solo Exhibitions all over the world. And in fact, I will have one in New York in a Gallery at Lower East Side in May 2025.

What do you think of the digital age , do you feel comfortable ?  

For sure, it has been important and useful in those lockdown situations, but, sincerely, I love to touch things, I love tangible art and I hope that the art market will not need it to be digital.

 Tell us about future projects.

As I am studying at a Free Artschool I hope to learn and develop more and more. I love to learn sculpture . And I am dreaming of having Solo Exhibitions all over the world. And in fact, I will have one in New York in a Gallery at Lower East Side in May 2025.

We are happy to present the interview made to Jessica Lavoie by Mauro, curator of Galleryone962

How did you come to art?

 A year and a half ago i bought few pieces and this is right after that that i decided to try painting. I since then discovered a real passion.

 What was the first abstract painting you remember experiencing at the beginning of your artistic career?

 The one I bought for my house prior to start painting. I still have them at home but they have been replaced with mine on the wall.

 Where does your inspiration come from?

 Im usually always inspired because I don't paint as much as I would like too so when i do its very feeling-oriented.

I go with the flow and try to not think too much during the process

because if i do i become too logical and for me it won't work.

I also learned when to stop – if see that my painting is not really getting anywhere interesting, I don’t push it because I will just end up wasting paints.

 Which artists have particularly inspired you?

 Ian Rayer Smith is THE best overall! love everything about his art . Hes very constant and he’s never deceived me!

 Tell us about your style, the ideas that allow you to create and your energy transmitted in the canvas.

 I like to work on many paintings at the time so i can re-use my paints everywhere (where i feel like it would fit).

I never know how long it's going to take me to reach the end of my work, im navigating a lot through it and i like changing it a lot because it takes a while for me to be satisfied like to do a lot of mark makings and have a thick texture with many layers. I love bold and colorful moves, use pens, pastel oils and spray paints.

 I am in a constant evolution I always try different approach and each day bring me closer to where I really want to become as a painter. I don't think I have found my style yet.

Why abstraction?

 That’s the only thing that I´m drawn into. I don’t like realistic paintings; abstract is my thing!

 How did you live the difficult period of the covid?

 My family and i adapted along the way and sometimes bad times lead us to good times. We are now full-time working from home and bought a house in the country for the kids so it turned out great for us.

 Projects for the future?

 Continue to evolve and explore as much as possible with my art.

How did you come to abstract painting?

When I was a young boy, my grandfather introduced me to the world of art by taking me to Pulchri Studio, an artist studio in The Hague, The Netherlands. I was captivated by the dream-like world of art and it sparked my interest in the field. The abstract art movement of the 1960s and 1970s played a significant role in shaping my artistic perspective. Many of my grandfather's friends were Dutch painters from that era, such as Willem Hussem, Co Westerik, and Sierck Schröder.

My professional career began in trading, where I worked as a market-maker and risk manager. However, my desire to create something tangible led me to painting. My passion for philosophy and psychology inspired me to express philosophical aphorisms, expressions, and mathematical formulas in my artwork. I aim to make these ideas accessible to people who may not have read the philosophers I am referencing, and to generate interest in the philosophers who have influenced my own life and thinking. By creating a visual translation of philosophical expressions, I hope to demonstrate the relevance of philosophy in our society. Therefore, I do not consider my art as purely "abstract", but as a means of visually conveying philosophical ideas.

Can you tell us about the techniques you use?

My artworks predominantly consists of paper as it serves as a medium for conveying philosophical ideas through writing and printing. The visible seams between the paper sheets represent the duality of life - where everything is distinctly divided, yet connected. This time, however, the division is not bound by language.

The techniques employed in my artworks include oil paint, collages, photography, and charcoal

140x100 cm 2017 oil on paper

5.473 Logic must take care of itself. A possible sign must also be able to signify. Everything which is possible in logic is also permitted. ("Socrates is identical" means nothing because there is no property which is called "identical". The proposition is senseless because we have not made some arbitrary determination, not because the symbol is in itself unpermissible.) In a certain sense we cannot make mistakes in logic.

140x100 cm 2018 Oil on paper

5.634 This is connected with the fact that no part of our experience is also a priori. Everything we see could also be otherwise. Everything we can describe at all could also be otherwise. There is no order of things a priori.

5.634 Here we see that solipsism strictly carried out coincides with pure realism. 

The I in solipsism shrinks to an extensionless point and there remains the reality coordinated with it.

Out of the night that covers me, 

Black as the pit from pole to pole, 

I thank whatever gods may be 

For my unconquerable soul.

In the fell clutch of circumstance 

I have not winced nor cried aloud. 

Under the bludgeonings of chance 

My head is bloody, but unbowed.

Beyond this place of wrath and tears 

Looms but the Horror of the shade, 

And yet the menace of the years 

Finds and shall find me unafraid.

It matters not how strait the gate,
How charged with punishments the scroll, 

I am the master of my fate:
I am the captain of my soul.

William Ernest Henley's INVICTUS

What are the fundamental human messages at the basis of your artistic production?

When thinking about the concept, freedom is the first word that comes to mind. However, defining freedom is a subjective matter and its meaning may differ from person to person. In my perspective, my interpretation of freedom may not necessarily align with others. Therefore, my message regarding freedom is to encourage individuals to question themselves limitlessly, remain truthful to themselves, accept life's unpredictability, acknowledge that each person is unique yet equal, and recognize that we coexist on a minuscule portion of the universe.

When do you understand that a work is finished?

Whenever I come across an aphorism or expression that I want to express through my art, I don't immediately feel the urge to start. It's a long and meticulous process. However, when it comes to visualizing what the painting should look like, I can wake up in the morning with a clear idea. Nonetheless, it takes me a considerable amount of time - sometimes between a week and up to 10 years - to feel confident that I have aptly translated the expression into a visual medium.

Are there techniques or formats that you prefer?

My series about Wittgensteins' Tractatus are big formats (200x140 cm, 200x70cm and 140x100cm), because I think that he is so brilliant that it needed big formats.

Friedrich Nietzsche, Hannah Arendt of Martin Heidegger are smaller formats, mainly 100x70 cm.

What excites you about a work of art? The composition or the color?

The composition, without doubt. In colors it is difficult to see the mood, thoughts or feelings of the painter! The expression comes from the composition.

Is there a painter who inspires you in a particular way?

There are three painters in particular who I greatly admire: Mark Rothko, Willem de Kooning, and Nicolas de Stael.

Mark Rothko's paintings have a profound impact on me. Some of his works are so powerful that I feel as if I'm stepping into a different world when I look at them. I can think, cry, or scream without any judgment from anyone or anything. It's a liberating feeling. 

I am especially impressed by Willem de Kooning's ability to create complex structures in his paintings. The smooth lines are
sometimes strong and weak at the same time, and I can't discern a clear beginning or end in his works. They seem like a brilliant continuation of what life should be.

Nicolas de Stael's abstract paintings always represent an existing situation, which has inspired me to explore how to visually represent my favorite philosophers.

In terms of future projects!

I have several exhibitions planned throughout Europe for the upcoming summer, autumn, and winter seasons. Additionally, a book about my artwork is nearing completion, and another book about fences will be published by the end of the year. Finally, I am organizing an exhibition featuring several philosophers at the beginning of 2024.

Tell us about the beginning, how did you come to abstract painting?


As a user experience designer,
I have always been interested in design and art my whole career, but it was not before the COVID pandemic in 2020 that I started painting. It is creative videos by an artist I have known for a long time that brought me into art. First, as a way to relax from  a job period that was not the best for me, and then more and more because I like expressing myself through it.


From my Instagram feed, you
can see quite clearly the evolution in my style. I'm still exploring new ways of expressing myself on the canvas, trying to get out of my comfort zone. But, it has not always been a success. Some paintings got at least three or four versions on top of the first one before I felt I reached a cool destination. Like a majority of artists, I'm overly critical of my work. How many times have I heard my wife tell me: "Why did you start over? It was beautiful." I'm not there yet. With all the great artists worldwide,
you want to be unique, at least a bit, so more and more people can be interested in my art.


How does inspiration in your profession come about and how do you manage to find it?

On a day-to-day basis, everything around me with eye-catching color combinations makes its way to my subconscious and eventually becomes the beginning of a creative journey.

Reflection

Acrylic and modeling paste on gallery canvas 

40x32 

Available 

You tell us about the techniques you use?

I'm describing my style as intuitive
and abstract. But, being artistic and cartesian, it's not always intuitive. I like creating balanced structures, exploiting empty spaces, and juxtaposing colors at their best next to each other. This cartesian side makes me get back from the intuitive and place precisely some elements on the canvases. I hope this is what attracts people's attention.

There techniques or formats that you prefer?

I’m mostly using painting knives, I like the gesture behind using this type of tool and what I like the most are big formats.  Hopefully someday I’ll have a big studio where I can do even bigger formats than the one I do right now.


What are the fundamental human messages at the basis of your artistic production?

That everybody is unique in a way.  

Tell us about your favorite subjects

Don’t really have favorite subjects since from an initial idea I can come up with a completely different perspective. It’s also something that I like from abstract art where a different path that you haven’t planned just popped out of nowhere and push you out of your comfort zone.




 

Candy Land 

Acrylic and modeling paste gallery canvas

 36x30 

Available 

 What excites you about a work of art?

 The composition or the color?

I’m a great lover of colors, how they look against each other, what’s the best composition to create a pleasing experience for the eyes.  What I also like about an abstract piece is that everybody can see something different in it, their perspective created from  the artist's initial work.  That’s always what I liked the most when someone came up with a completely different interpretation of an artwork than the one I have.


Is there a painter who inspires you in a particular way?

Jean-Paul Riopelle is one of  the greatest Quebec painters. I have always been impressed by his work. I'm also a fan of Marc Seguin and Martin Beaupré (Martin is responsible for my jump into the art scene). More recently, I like the work of Ed Fairburn, Mathieu Laca, Justin Coursey, and  Ramiro Clemente. With completely different styles, they're impressive.


Future projects?

I love making art, and it's still a great way to relax from big days at work. I think we can say I am a young artist, even if I'm 49 years old :) so I will continue on the path of exploration, always trying new things to find the unicity we are aiming at.  But if we want to be more specific,
I would like to be exhibited in New York or Miami in the upcoming years.

  What was the incipit of your artistic career?

Romaine: I was already taught as a child by my artistically active father in classical painting and technique. Many naturalistic and figurative exact paintings were created in this years. Later I wanted to break away from this and started with watercolor in modern painting and began the path as a Contemporary artist. I consciously decided against academic training in painting. I had the great need and urge, and to face my self, my intuition and my feelings in painting. Techniques can be learned, but the inner world needs its own outlet and space to unfold and express itself.

 How does the inspiration of Hadi in his profession come about and how does he manage to find it?

Hadi: We do not choose subjects, they come to us by themselves. When we find a suitable spiritual ground for this flow and have actually refined ourselves over many years and become a conduit through which feelings flow freely, paintings are formed. This is exactly what children do instinctively and unconsciously, and the result of this pure encounter with emotions is unparalleled artistic masterpieces.

 Tell us about your artistic collaboration with Hadi Mohammed Khani      

                                   Romaine: The versatility of artistic activity and the human component excited me from the beginning of the common path and an exchange about art, culture, poetry and stage work arose, which is particularly present in Hadi.                 Since Hadi is also a painter, the idea and a first attempt at a joint work was soon born. The basis of our joint works are mystical stories, surreal figures and a generous mixing of different cultures, fabrics and social events across borders. The expression of these images is energetic, delicate and at times ethereally dynamic. Thus it is that between East and West, across revolutions, art has been reborn for us in the sign of the times in its particularity. Our works are the breaking point, the moment of decision between being and not being, between nothing and something. We are both also individually present at exhibitions. But the joint works bring us inspiration and exciting developments that spur each other on experimentally.

 What are the artistic currents that Hadi prefers?

Hadi: If the question here is related to artistic styles, I must say that they often do not separate artworks based on the artists' own styles, and perhaps this flow may be of little importance to them. From the point of view of great artists, there is only one style, and that is the personal style of the artist who has achieved independence of expression in his art.
Considering that in addition to painting, I am also active in the field of directing and acting in physical and musical theater, I have realized that the new world needs new and very modern artistic trends. Man today needs a platform to reach self-knowledge, and art and painting, which we are talking about here, are quite helpful.

  In your opinion, is Europe doing enough to promote art and cultural disciplines?

Hadi: Considering that we are artists from Iran and Switzerland who are active internationally, we have found that the platform for artistic activities in Europe is very good, but not enough. Because art is constantly growing and the foundations of this growth must be provided in harmony with it. Interaction between all branches of art is what we need today and with this aim I have founded "Body Magic Group" to open new doors in art for us.

Romaine: The times we live in are characterized by uncertainty and upheaval. In such times, art has always had great significance.  Art inevitably deals with people's emotions, can bring healing or depict and process hardship. More and more new ways have to be found so that art in all its facets finds its place and above all strengthens each other. The promotion of different arts in their commonalities, there is still much potential for development.

 Can you tell us about the techniques you use?

Hadi: Often we try to use techniques that no one has entered before. Individual and group creations are among the most important parts of presenting our works, and we believe that each person's art should be close to his inner self in such a way that we can know his inner self from his artwork and talk about it.
For this reason, we have invented our own unique technique and style and named it "photopin“.

Romaine: We deliberately do not use commercially available technical tools. It is a craft specially developed by Hadi that comes into play in our joint art.

7)What are the fundamental human messages at the basis of her artistic production? Romaine: Our common interests in mysticism, the mysterious in cultures and religions, has shaped our work so far. We both come from different regions and have different cultural backgrounds. But we keep discovering the great commonalities of human existence, the emotions, the longings and the suffering, the happiness and the visions for a better life, no matter where people live.

  Let's talk about her favorite subjects of hers.

Hadi:Are there any interesting subjects in art?
If so, my answer is:
My favorite subjects are music, physical and musical theater, writing and painting, and I prefer to create a space that serves my feelings by interacting with all these arts.
That is, in the end, it is this feeling that takes all these into its service and creates a work of art.
So, as a result, my favorite subjects are completely rooted in my art and inner feelings.

Romaine: I love to communicate with people through art, on the one hand, by triggering emotions in the viewer, and on the other hand, that especially in contemporary art, a work of art is never finished. In the abstraction and in the emotions that a painting expresses, new thoughts can arise in the viewer every day. That is one of my favorite themes. To surprise myself and the viewer every day anew. The actual process of painting is hard work for me, a suffering and not pleasant. I live for the moment when the work is finished.

 When do you understand that a work is finished?

Hadi: We come to the conclusion when that painting is successful in relation to us.
This is directly related to human intuition.
As I mentioned before that the subjects choose us, I must say here that it is the painting itself that announces its completion at that moment as it grows.

Romaine: During the process of creating our image, we are in regular intense exchange. The moment when a picture is finished, fits for both of us together. It requires in this kind of cooperation that both can live their freedom in the art implementation and we perceive the product mutually as a gift.

 Her philosophy of life? Something I didn't ask that she would like you to know.

Romaine: My philosophy is to continue to live my curiosity for knowledge, learning, discovering and being surprised. It is a continuous never ending process to get to know yourself and to develop.

Hadi: My life philosophy is: Reach more knowledge, to become aware of more ignorance in yourself, this point is a new beginning. Everything is within you and you just have to discover it.

 

Future projects?

Since 2022, numerous joint paintings have been created, with which we participate in international exhibitions. In January 2023, we received the first Donatello International Prize in Florence and are also represented in the Contemporary Celebrity Masters Catalog 2023 and the Modern MUSA Art Catalog 20

We are able to make Exhibitions and performances combined to present a very exclusive and exciting event.


2023 Soloexhibition Mai 6. Mai – 3. June, Galerie Kunstreich, Gerechtigkeitsgasse 76, 3011 Bern,

        Painter Romaine Kuonen/Hadi Mohammadkhani with live Performance

        Hadi MohammadKhani, the Body Magic Group, Residence Mashhad

2023 Art & Performance Atelier Dati with live Performance, Zelglistrasse 35, 8330 Pfäffikon,

2023 Part of contemporary art exhibition "No pain, no gain", which will be organized at "Medina Art Gallery" in the heart of Rome in May 2023. The vernissage will take place on May 5th, 2023, at 6 p.m.

  Have you always wanted to pursue this profession?

No… When I was very young, I thought about becoming an archaeologist to research plant fossils (prehistoric trees) in Antarctica, but in Brazil little was said about archeology, so I realized that the profession was undervalued and that it would be very difficult to make a living from it. So I left it to choose a profession later.

 How did you approach drawing and painting?

I always liked to draw.
My older sister noticed this and paid for a correspondence art drawing course (this was in the late 80's). It was a course of almost a year, with monthly materials, as long as it was approved in the previous workbook. In one of the handouts, there was an introduction to painting, but with figurative reproduction of photographs, landscapes… 

The first reproduction was a building in a large green space, and it impressed me a lot because of its form. I only discovered that it was the Chapel of Notre Dame de Haut, in Ronchamps, France, when I was at the University. It was this work that inspired me to pursue architecture. Also, as a child, I played a lot with cars, creating and thinking about imaginary cities, so there was a direction.

Training in architecture helped in the knowledge of the history of the arts and various concepts, but painting really emerged in 2021, after a crisis of burnout at work, the recognition of the depression I was already living and the separation in marriage.

 And what does the drawing represent for you? And how do drawing, painting and architecture come together?

For me, drawing represents the possibility of creating a world with your expression, your brand, even if it is the reproduction of a certain space in the world or the city where you live... It's your trait, your interaction with paper , your feelings that will create this “new world”, no matter if it is an abstract or figurative, psychedelic or digital representation… it is your vision, your expression of the world.

With this we have the union of architecture, drawing, painting, on a single level: the transformation of reality!

Architecture is about creating a livable sculpture, where painting and drawing complement our experience in this world, influencing our feelings at every moment.

 What is art and what does it mean to be an artist?

In my understanding, art is knowing how to perceive or transmit something that is offered to us by the universe... In the universe everything is art... bringing closer to us, the Sunset, the sunrise, a mountain, a flower, a river , people… People are works of art… each one is special, unique… When we fall in love, we fall in love with someone who has awakened or elevated our feelings to another level. This is art!!! Art has this power, to elevate our feelings, our perception of the world around us, as well as Love... So, seeing a work of art is like falling in love... it's having your soul touched in an inexplicable way... feel transported to another level...

And being an artist is being that person who will be able to help the vast majority to understand the feelings that the work wants to convey… Being an artist is being an instrument of sensitization for people!

  What are the prevailing colors of your palette?

In my color palette, it will always have black and red (together or separately), but it will always have one of these colors. If you don't have any, my work is incomplete.

When you see a work of art, what first calls your attention? The shape within the work or the color?

Color first... Ever

 

  How much is your conception of Nature and your pictorial style linked to environmental issues?

It's a difficult question to answer... in my work there may not be this explicit connection, but I'm very connected to environmental issues... , or else I take walks in the rural areas of my city so that alone and in silence, I seek inspiration for the next works. This consideration of environmental issues was also one of the factors that strengthened my departure from the company where I worked in the field of architecture… There they only thought about profit, not about environmental issues or quality of life for people… a lot, because I needed to do what I didn’t consider right…

 Have you ever dreamed of a work to be created?

Yes, sometimes…
My works usually appear as a thought, a word, a sentence or a flash of a drawing or set of colors… and they keep hammering in the subconscious until I paint. Some appeared in dreams, as a vision of the work or as a word that made me turn into a painting.

A great example is the work “Dreams” (which is on my Instagram)…
In the dream I was imprisoned and to have freedom I needed to paint a picture… and that's exactly what I painted in my dream!

When do you understand that a work is finished?

I think this is very particular to each artist…
I have the feeling that the work speaks to me: “Hey, I'm ready! Ended!". From this moment on, any drop of ink will spoil the work.Then the trance ends and I finish the work!


Are there any techniques or formats that you prefer?

I have a very strong reference to Pollock, something that seems kind of chaotic (like my life… hahahaha), so “dripping” is a very apparent technique in my work. And as for the format, I prefer large formats, preferably vertical.

 Projects for the future!

1. I intend to have a spacious studio, because after my separation, I started to live in a very small apartment and I need to cover the entire space of the room when I paint, and the living room becomes a drying space for the works… so I am restricted between producing and inhabiting (hahaha);

2. I intend to live for art and for art (the reason I chose architecture… to offer beauty, feelings for people);

3. I also need to sell my works... My son is going to study medicine and I need to pay for the university.

4. Having a person next to me (as I said in the middle of the interview, my work of art, and who also sees me as theirs… hahaha) to dedicate the love that today I have to dedicate only to my works! Excuse me… Jokes aside!

   How did you approach painting?

 My mother was a talented artist.  It took me a long time to get started with the creativity on the canvas.  I am self-taught because my mother did not paint with acrylics and certainly not with structural materials.

  Are there any techniques or formats you prefer?

 I tried a lot before I found my way.  My path is not definable.  I think it's because I let my soul paint.

 It's like eating or cooking. I don't have any preferences every day, sometimes I just like noodle soup.  My art is supposed to be versatile and therefore I'm still looking for new materials and combinations.  On my site you can see many different types of painting from abstract to my beloved bulls

   What are the prevailing colors in your palette?

 All colors that match the artwork

  What excites you about an abstract artwork?

 The different points of view to look at an image.  Sometimes you see a figure in it and sometimes, the next day it changes into a landscape.

 It is the work with different structural materials, a combination of ink or other smooth products that are nested in the structures.

  What messages can you read there?

 Working with my bulls always gives me power and also with works for my clients!  Watching the bull gives them strength.  I enjoy both types of work because it is like a vacation for the mind.

 Is there a painter who inspires you in a particular way?

 Gabriele Musebrink a great great German painter gave me the passion to paint with materials other than colors.  There are many others but she gave me the impetus to work with the structures.  The motive for painting bulls began with a visit to a gallery.  The look on him triggered something in my soul.

  What does it mean to be a painter today?

 In all times it has been difficult for an artist ... to be understood, to be respected, to be conquered in the form of money.

 An artist is out of the ordinary and needs optimism and perseverance.  I owe them both!

 Tell us about future projects.

 The next project is an exhibition at the Gut Kaltenbrunn Tegernsee near Munich with my Gallery located in Innsbruck.

 A great project is my job as a course manager to show my technique to all interested people.  In my atelier they can book a detailed workshop and also from Boesner, a great art dealer

What was the beginning of your artistic life?

The beginning of my artistic life began to manifest when I began to believe and feel that it was necessary to express emotions and feelings in a way other than the one that everyone adopts to make themselves understood.

That is to say, make an effort to perceive what we have in front of our eyes and we do not see;  that other way of knowing that there is something more extraordinary that we must discover beyond that "light" created and not by chance and satiate the desire to find some way to reveal itself. It is a path that I came to travel from that moment on when I was a child, when I longed to possess that box of watercolors placed in a showcase and to which I went every day to be ecstatic in his presence, when I managed to buy it after a yearning to collect all the money and have it in my possession, I felt very happy with That gift that I gave myself.
It was then, since I was a child, that I began to love the colors of that box of watercolors... and to create for myself a very personal world apart, without anguish and to free myself from ties.

How does inspiration arise in your profession and how do you manage to find it?

I get inspired by remembering many times what was described above and remembering the instructions of my former teachers who emphasized maintaining a continuous rhythm of work and observation of what is being done, to be able to meditate on it and maintain the corresponding sensitivity in what is being done. is doing to achieve satisfactory results in the face of the aesthetic approaches that are desired.

 

What are your favorite artistic currents?

Among the artistic currents that may interest me, there is abstract expressionism and artists such as: Jackson Pollock and his action painting, the floating forms in the surrealist work of Marg Chagall, Paul Klee, the Venezuelan Armando Reverón. I like the work of Antoni Tapies a lot and so on.

Can you tell us about the techniques you use?
Is there a technique or format that you prefer?  

And when do you understand that it is finished?

The techniques that I often use are the juxtaposition of visual textile patterns, often using airbrushing, the use of paint rollers to achieve transparency, all this on any type of support (fabric, cardboard, etc.). The use of the roller sends it to me. instantly to the engraving of which I was a regular executor (because it is constantly used to extend the ink to be used on the plate where the design to be stamped rests, it is also my habit to use collage because this technique allows me to capture a certain shape without much fuss in the desired design.

I resort to the use of color directly from the tube that allows the gestural in the desired transfer

 What are the fundamental human messages that underlie your artistic production?

Human messages: PEACE!  Favorite themes: those that refer me to ideas about religion or science, a work according to my experience is never finished due to the fact that when looking at it again for a future development in time I find faults, either in color, shapes etc...

Philosophy in life?

Philosophy of life: live and let live!!!! (Very important... I take care of looking for what is mine, what satisfies me and where I am at ease).

Future projects?

The future project will be defined by the course that the work takes and its demand.
In the message of peace I can add what:.
Love peace and eagerly seek peace;  If you find yourself involved in a conflict, take the initiative to make peace and even if you have tried several times and have not yet been crowned with success, keep trying, sincerely making the effort to achieve peace ennobles you.

Live in the present do not allow words spoken or actions carried out in the past prevent you from making peace at this precise moment...

Peace !!!!  Yes sir !!!!!