There is nothing lovelier than laying colour pigments onto a still-empty surface.
Pastel chalk is a deeply elemental medium. No brush is needed - the chalk is laid down directly.
A honeycomb panel serves as my support and allows me to work in large format. I fix the images with lacquer varnishes. In many layers a firm surface emerges that carries depth.
Often I pulverise the chalk and mix the colours as I apply them - so endless nuances of hue arise.
Within contemporary Christian art, pastel painting on cardboard carries its own temperament: matte, quiet, close to pigment and breath. It suits the biblical motifs and sacred themes I return to – angels, houses of the soul, descending lights – and lets spiritual and religious art remain a question addressed to the viewer rather than a conclusion pressed upon them.
„Colour and form are language to me. A painting is finished when I feel that nothing more can be added."
For one exhibition I developed the Hausaltäre, crafted by a carpenter. A painting sits behind glass; behind it a hinged door opens onto a hollow - for prayer notes or photographs.
The altars come in various sizes and can be finished in different colours.
Wooden altar with painting „Himmelsleiter" - dimensions: 62 × 33 × 18 cm
The honeycomb panel allows very large works - also for the shaping of public spaces. The paintings need no glass, since the lacquers create a firm surface.
Now and again I take on commissions - for instance a baptismal verse or a biblical passage, translated into imagery.
Very personal works emerge, made with a specific occasion in mind.
From the very beginning I have shown paintings alongside texts. Image and language depend on each other - like invisible threads they trip up thought and release associations.
wahrhaftigkeit
sprengt weite risse
in bewohntes land
wagen was verloren scheint
weiter als jede angst
seele atmet himmel aus
suche nach der stelle
im puzzle der schöpfung
welche mein leben füllt
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