war der Werbeslogan des wichtigsten Spielzeuges meiner Kindheit. Den modularen Charakter dieses Spielzeuges übernahmen in meiner bildnerischen Arbeit auf ganz ähnliche Weise einfache geometrische Körper als Bildbaustein. Zu Anfang meines Bildsystems benützte ich als Auseinandersetzungsgegenstand einfache Holzbauklötze aus dem Spielzeugladen. Später bei den Cubic Worlds begann ich, die Vorlagen für meine Bilder in 3D-Konstruktionsprogrammen zu konstruieren. Ich erzeuge Animationen, die festlegen, auf welche Art- und Weise sich die Bildkörper durch den Bildraum bewegen, und welchen Transformationen, wie Form-, Textur und Beleuchtungsveränderungen sie ausgesetzt sind. Die auf diese Weise gewonnenen Bildkörper-Choreographien dienen als Anweisungen, wie sich die Bilder durch die Malebenen verändern und sorgen für das notwendige Veränderungspotential in den zu malenden Bildern.
I am working with only a few actual canvasses. The basic idea is to find in every run a new constellation, which modifies the previous one without altering the canvas or its main parameters. I isolate certain qualities of the painting techniques from works of art which I know and admire and apply them to my work as precisely as possible. Thus I try to find exciting and effective image constellations. When an image comes to the point of an effective formation I document it by taking a photograph. Sometimes I arrive at this formation immediately and very quickly, at other times it is only achieved after a tedious creative process. In between these documented constellations “happen” other ones I do not consider worth documenting. After documenting an effective formation I again send the image system “on the move” by modifying color and form. Based on the painting which already has emerged I work out its next effective formation. Every step of iteration recalls the previous, as a whole the final formation contains and remembers all the earlier constellations. The German Duden(4) of 1983 defines iteration in mathematics as “a step-by-step method of calculation to achieve an ever closer approximation of the exact result.” I use the term iteration to mean the built-up of image formations which progress into ever more complex units by a continuous feed-back with previous formations and by constantly re-absorbing and re-including all that was before. However, I also want to quote (again from the Duden) the second definition of the term iteration which is taken from psychology. It gives a hint at the less successfull sides of an iterative process: “Compulsive and continuous repetition of the same words, sentences and the same simple movements (esp. in certain psychological and neurological diseases)”. Based on the first definition I became more and more convinced of the following hypothesis about image production: The quality of a work of art is substantially improved when the painter “sticks to it”; if he or she revises it again and again, if he confronts the same artistic problem not only once, but over and over again. This happens both on the level of thought and on the level of craftsmanship. I am convinced that the acquired substance can be perceived in the final painting even if the layers of color underneath are no longer really visible. It is necessary to let one layer react to the previous layers as carefully and convincingly as possible. A simple adding-on of more color can by no means be a substitute for the kind of substantial materiality I want to procure!
1981-88 Studium „Malerei und Graphik“ an der Akademie der Bildenden Künste, München. Maltechnische Studien bei Prof. Gebhard Schmidl (Mitautor Wehlte). Diplom als Meisterschüler bei Prof. Tröger,
1997 Postgraduate scholarship (Boston) under the terms of an agreement between the United States Information Agency (USIA) in Washington, D.C. and the State of Bavaria, represented by its Department of Science and Culture in Munich
2024 perspectiva, Galerie Heufelder München 2023 metamorph, Neuer Kunstverein Gießen (Katalog) 2021 Schlieder Contemporary Homage to the line, Christoph Kern, Ralph Kerstner, Peer Kriesel, 21.04.-21.05.2021 2020 Studio Reichel, QBS LX, Dachau 2018, PERSPEKTIVISOMORPHE, Ein interdisziplinäres Forschungsprojekt zwischen Chemie und Kunst, Universität Gießen 2018 Chimaera. CAT, Tavira, Pt. 2017 Rochade, Galerie Heufelder, München 2017 Papierarbeiten, werkschau.galerie, München 2016 The Uncertainty of the Painted Cube, mute gallery, Lisbon 2014 CW 4G Galerie Michael Heufelder, München 2014 Cubic Worlds rev., VKU Berlin 2013 Open Space, Uni Paderborn 2011 CubicWorlds II Galerie Michael Heufelder, München 2009 stands for attitude, locus lux gallery, brussels 2008 Flachland, Galerie Heufelder, München 2008 Cubic Worlds, Filipp Rosbach Galerie, Baumwollspinnerei Leipzig (Katalog) 2008 The Diversity of the Painted Cube, Titanium Yiayiannos Gallery, Athen (Katalog) 2007/2002 Galerie Ulysses, Wien; John Sailer and Gabriele Wimmer 2004 The Evolution of the Painted Cube, KERN Prod. (DVD) 2003 U.I.G. Galerie, Berlin 2001 Würfelspiel, Galerie Stühler, Berlin 2000 Artenvielfalt, GBW, München (Katalogbroschüre) 1998 The Uncertainty Principle, focus mediport, Berlin 1997 Storage, The Funeral Home, Boston, MA 1996 Bildsystem Bildbausatz, Neue Galerie Dachau (CD + Katalog) 1996 HART&weich, Städtische Galerie Neuburg (with W. Ellenrieder) (Katalog) 1989 Mit mir verglichen bin ich normal, Kunstverein DAH (Katalog) 1990 Stiegen, Galerie am Maxwehr, Landshut, (Katalog)
Auswahl Gruppenausstellungen
2017 Szenenwechsel, Schlieder Art C., Frankfurt 2017 GRÜN, Galerie Heufelder 2012 Kunst- und Wunderkammer – revisited Strategien der Welterschließung und Erkenntnissuche in der aktuellen Kunst, Neue Galerie Landshut 2012 Shortfim Festival Athen, 25.5.2012 bis 3.6.2012 2010 Die Grammatik des Buches, Radierverein , München 2009 Obsession, deWILLEM3, Vlissingen 2008 Bonicos Gallery, Athens 2008 Dust Exterminator , filipp rosbach gallery, Leipzig 2008 Bierlachen, werkschau galerie, München 2008 Obsession, Neue Galerie, Landshut 2008/2005 The DVD-Project, München, Breda, Vlissingen, Madrid, www.dvdproject.org 2005 In Deep, Transcending genre barriers – project 1999 Bildwuchs, Kunstverein Ulm 1997 The Staff Shaft Show, SMFA, Boston, MA
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