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...that's the idea, indeed...
- I paint landscapes, yeah...
since a long - and...
I realized that, for me, the painting, is
more important that the motif.
And I want that the viewer, who
looks at the picture,
first sees the painting, and
then, if he wants...
he can turn his head...
and he sees the motif...
...The papers and canvases were...
...lying on the ground at the atelier, and
if I work with one of them,
I make blots with it, or...
if I wipe with the whole paper, then
it falls down on the floor, and
it glues through the coloring.
That is just a lot of working process...
If you record or shoot
atomic bombs
you can even see traces...
...of radioactivity...
over the film material.
I developed further this idea,
I said upon it,
that one can do it with ashes,
or one can burn the canvas...
and through this, to visualize
the destructive impacts of an
atomic bomb.
Besides, it's got this
gallery feature, like a
gallerie of ancestral portraits,
here are in fact the corresponding
portraits of an atomic bomb.
The sculpture consists
mainly of cups...
and also of other materials...
...and I collected them...
like I used to collect...
paper in older days.
So, this is consumption...
all this comsumption
thus, with different labeling,
clear things which one...
recognices from the supermarket,
like this "Milka" chocolate..
The spider was a little retouched, and
at this point came something else instead.
- But this is other thing
But this is also a symbol
of fertility, exactly like
that of "MAMAN"
Louise Bourgeois also made
one sculpture which
looks exactly like that...
This is another sculpture from hers.
- Who is that man? Is it Jonathan Meese?
This is Jonathan Meese...
...perhaps it is not,
many people say that it is Jonathan Meese..
he merely represents
a symbol of a revolutionary,
riding a horse, like a cavalier...
leading a theater troupe...
right at the front...
This is acrylic. It dries very fast and...
...I like it when I paint right there, in site...
...since it dries very fast and...
I can take it home immediately.
- That also means that you must be sure of what you want to paint.
Yeah, exactly.
First I am on the quest of a motif,
than I find a motif, then I paint right at the site,
it all lasts a day
then I am ready...
and that is the moment.
The material is very important for me.
And within the working process
it occurs that
a lot of materiality emerges.
Like, there is a thick stroke of oil coloring,
the paper comes up to the foreground
with its materiality and its quality.
And there is something glazing there...
something thick...
If you look at the painting over there,
...it's got great aesthetics, the red...
so, the painting is called "300.000°", and
this is the temperature which emerges (at one explosion)
and if you begin to think
how much heat it actually is
- alike to the surface of the sun,
with a million degrees -
then this painting turns to be creepy, schocking...
...also with that intese, aggressive red...
I had already, to put it in a way,
a rule in my head, in which
I wanted to have the things somehow,
but I also had
used so many cups,
and they were lying there, all piled up...
...this is also a part of it,
the fact that there are coincidences,
and that also something happens
when you make it.