Acrylics and mixed media on canvas, 80 x 100cm (2010)
Acrylics and mixed media on canvas, 65 x 80 cm
Acrylics and mixed media on canvas, 40 x 50cm
Acrylics on canvas, 30 x 40 cm
Acrylics on canvas, 65 x 80 cm
Acrylics and mixed media on board, 40 x 30 cm
Acrylics on canvas, 100 x 120 cm
Acrylics on board, 30 x 24 cm
Acrylics and mixed media on canvas, 50 x 40 cm
Oil on canvas, 30 x 40cm
Oil on canvas, 30 x 30cm
Crayons and watercolor on paper
Pastel on paper
Acrylics on canvas, 65 x 80cm
Acrylics on canvas, 65 x 80 cm
Pastel on paper
Pastel on paper
Acrylics on canvas
Acrylics on canvas
Acrylics on canvas
Acrylics on canvas
Acrylic on canvas
Acrylics on Canvas
Acrylics on canvas
Watercolor on paper
Pastel on paper
Pastel on paper
Pastel on paper
Pastel on paper
Pastel on paper
Oil on canvas
Mixed media on canvas
Acrylics on canvas, 65cm x 80cm
Acrylic on canvas, 24 x 32cm
Pastel on papyrus, 30 x 40cm
Pastel on paper, 24 x 32 cm
Pastel on paper, 24 x 32cm
Pastel on paper, 24 x 32 cm
Pastel on paper, 24 x 32 cm
Pastel on paper, 24 x 32cm
Pastel on paper, 24 x 32 cm
Der Portraitzyklus in Acryl, „Darwin lebt“ I und II, ist vor dem Hintergrund meines Unbehagens vor der fortschreitenden Radikalisierung in vielen Kulturen zu verstehen. Die Bedrohung der menschlichen Gesellschaft durch eine immer stärker werdende Radikalisierung der religiösen Ideologien und deren Absolutheitsansprüchen gegenüber allen Menschen habe ich die Rückkehr zu evolutionären Ereignissen entgegengestellt. Die farbliche Verfremdung soll die Modellhaftigkeit der dargestellten Tiere und Menschen verdeutlichen und deren Ähnlichkeit unabhängig von Rasse und Hautfarbe aufzeigen. Die Farben treffen dabei zumeist als Komplementärkontraste aufeinander und unterstreichen so die Energien, die sich hier gegenüberstehen, insbesondere hier in dem Begriff der Schöpfung mit dem der Evolution. Die Austauschbarkeit der einzelnen Module (Leinwände) weist darauf hin, dass dieser Widerspruch zwischen beiden Begriffen aufgelöst werden kann.
The portrait cycle in acrylic ‘Darwin Lives’ I and II, is derived from my discontent with the progressive settlement of radicalisation that seems to have fallen upon many cultures. I set the threat to human societies that the growing radical religious ideologies and their claims to absoluteness over humans have against the return to evolutionary events. The color break is used to highlight the model-like features of the presented animals and humans, and is meant to emphasize their similarities, despite differences of race or skin color. The colors meet as complementary contrasts, and so underline the different levels of energy and ideas facing each other, such as those of creation and those of evolution. The interchangeability of the single modules (canvases) represents the idea that this seemingly contradictory standpoint between the two ideas can be dissolved.
Terracotta
Stoneware and earthenware with glazes
Stoneware with glazes
Earthenware with glazes
Earthenware with glazes
Earthenware with glazes
Earthenware with glazes
Earthenware with glazes
Earthenware with glazes
Stoneware with glazes
Earthenware with glazes
Earthenware, glazes, and wood
Earthenware, glazes, and wood