SELECTED NEW PAINTINGS

Let me spotlight some new paintings. Of course just a subjective selection and incomplete (for a complete overview of my oeuvre please have a look at the PAINTING GALLERY). I am deeply grateful that I’ve got the ability to paint in my strong poetical way and with a clear recognition value.

 

 

 

IN THE LAND OF GODS AND MONSTERS
2017
150 (h) x 120 (w) x 4,5 cm
acrylic and oil on canvas

In this land called soul, nothing is free of doubt, every step is a highwire act, a difficult balance between heaven and hell, between good and evil, right and wrong, a neverending trip between summer and winter, night and day and between Olymp and Hades. I remember Friedrich Nietzsche and his thoughts: ‚God is dead. God remains dead. And we have killed him. Yet his shadow still looms. How shall we comfort ourselves, the murderers of all murderers? What was holiest and mightiest of all that the world has yet owned has bled to death under our knives; who will wipe this blood off us? What water is there for us to clean ourselves?‘

* * *

„To live is to suffer,
to survive is to find some meaning in the suffering.“
Friedrich Nietzsche

 


 

REMEMBER THE DREAMS WE ONCE HAD
triptych 2017
acrylic and oil on canvas
380 (w) x 120 (h) x 4,5 cm

Years passed, seasons came and went. Do we remember where we have started from? The younger years, our hopes and dreams, all the golden life goals? Do we stand the ground, do we still believe in us? And what about the answers that life won’t give us? Do I remember my dreams, the dreams I once had, and do you still believe in me?

I share the opinion of the famous Norwegian painter Edvard Munch (1863-1944), that paintings contain not only a creative message as single piece. You can look at them also in a major conceptional context. This triptych REMEMBER THE DREAMS WE ONCE HAD combines three new and essential of my works (2017) from aesthetic standpoints as well as with regard to contents.

* * * *

LARGE-SIZED PAINTINGS.
LARGE-SIZED TRIOLOGY.

The triptych combines following works and should „read“ from left to right:

left part:
IN THE LAND OF GODS AND MONSTERS
acrylic and oil on canvas, 2017, 120 (w) x 150 (h) x 4,5 cm

center part:
AWAKENING BENEATH AUTUMN SKIES
acrylic and oil on canvas, 2017, 120 (w) x 150 (h) x 4,5 cm

right part:
IN FLANDERS FIELDS II
arylic and oil on canvas, 2017, 120 (w) x 150 (h) x 4,5 cm

 


 

IN FLANDERS FIELDS II
2017
150 (h) x 120 (w) x 4,5 cm
acrylic and oil on canvas

I do believe in the importance of history. History can tell us anything about men and politics and power. This painting deals with the subject and absurdity of war. There was one very important and bloody phase in World War I (1914 – 1918):

4 years war at the Western Front in Belgium in the fields of Flanders. Hundred thousands, enemies and friends, they lost their lives in trench warfares and buried in the Flemish earth. They called it „The war to end all wars“ (sometimes also „the war to end war“) and it is a very famous term of World War I, created in August 1914 and originally used in an idealisitc way. Young men in the trenches believed in that phrase, and it gave apparently a sense to all the bloodshed. This land tells their story – till this day. There’s also a museum in Ypres/Belgium. And there are all these red poppies in the fields as a reminder of the lost souls. The British officer John McCrae wrote in May 1915 the most famous poem about the killing fields of Flanders: IN FLANDERS FIELDS.

* * * *

„In Flanders fields the poppies blow
Between the crosses, row on row…“

(composed by Lieutenant Colonel John McCrae
at the battlefront on May 3, 1915
during the second battle of Ypres, Belgium)

 


 

AWAKENING BENEATH AUTUMN SKIES
2017
150 (h) x 120 (w) x 4,5 cm
acrylic and oil on canvas

“There are moments when troubles enter our lives and we can do nothing to avoid them. But they are there for a reason. Only when we have overcome them will we understand why they were there.”
― Paulo Coelho (ex: The Fifth Mountain)

 


 

SEA AND SKY AND MELANCHOLIA AT THE END OF SUMMER
Triptych 2016/17
acrylic and oil on canvas
380 (w) x 150 (h) x 2 cm

LARGE-SIZED PAINTINGS.
LARGE-SIZED TRIOLOGY AS TRIPTYCH.

I share the opinion of the famous Norwegian painter Edvard Munch (1863-1944), that paintings contain not only a creative message as single piece. You can look at them also in a major conceptional context. This triology SEA AND SKY AND MELANCHOLIA AT THE END OF SUMMER combines three new and essential of my works (2016/2017) from aesthetic standpoints as well as with regard to contents.

Summer is over soon and the days getting shorter again. Autumn is on the way. We feel the last warm breeze on our skin. Blue surrounds us and is the dominant colour. We are in between summer and autumn, in between blossom and fading. But we are just bystanders, we have no right to a say in a matter. Sea and sky exist from the beginning to the end of all times. And what about us? Do we have collect enough precious summer moments to survive the cold and darker days? With every new year the summer feels shorter, and life too. Where are the endless summer months at the seaside, far away from daily routine, where are our younger and lighthearted days? Hope is beyond the horizon line. But we are fighters and we have nothing to fear. Sea and sky and sometimes also melancholia will accompany us. And we should remember Dylan Thomas and his poem: „Do not go gentle into that good night.“ Next summer will come. Farewell warming sun. This is not the final.
.
The triptych combines following works and should „read“ from left to right:

„WHEN THE NIGHT FALLS ON SACRED LAND“
acrylic and oil on canvas, 2017, 120 (w) x 150 (h) x 2 cm
left part of the triptych

„WHERE THE WHITE WINDS BLOW“
acrylic and oil on canvas, 2016, 120 (w) x 150 (h) x 2 cm
center part of the triptych

„TO THE EDGE OF THE WORLD AND BEYOND“
arylic and oil on canvas, 2016, 120 (w) x 150 (h) x 2 cm
right part of the triptych

* * * *

„Do not go gentle into that good night
Rage, rage again the dying of the light.“
Dylan Thomas

 


 

THE GHOSTS OF THE FOREST
diptych 2017
acrylic and oil on canvas
260 (w) x 150 (h) x 2 cm

There was a time when the ghosts talked to us. But do we remember where we came from? So much of our future lies in preserving our past. The world inside us, our memories, intensive moments, bittersweet but indispensable feelings. And what about the ghosts and their stories from a time long ago?

The diptych combines following 2 works and should „read“ from left to right:

„WHEN THE NIGHT FALLS ON SACRED LAND“
acrylic and oil on canvas, 2017, 120 (w) x 150 (h) x 2 cm
left part of the diptych

„WHEN MORNING CONQUERS THE DARK OF NIGHT“
acrylic and oil on canvas, 2017, 120 (w) x 150 (h) x 2 cm
right part of the diptych

* * *

„The muses are ghosts, and sometimes they come uninvited.“
– Stephen King (ex: Bag of Bones)

„Ghosts don’t haunt us. They’re present among us because we won’t let go of them.“
– Sue Grafton (ex: M is for Malice)

 


 

THE ICONOGRAPHY OF A FALLEN LOVE (ANNE BOLEYN)
triptych 2016
acrylic and oil on canvas
330 (w) x 150 (h) x 2 cm

The triptych is the fruit of a long-term internal creative dialogue with the use and meaning of Gold and Copper. I do love the famous use of these colors by Gustav Klimt and by medieval iconographers. My own contemporary interpretation (or maybe transfer) features dozens of really thin color layers and gradients mixed with Gold, Copper and Earth-Colors. Each of the three paintings highlights a different aspect of this transfer, but they contain not only a creative message as single piece. You can look at them also in a major conceptional context and from combined aesthetic standpoints as well as with regard to contents. This triptych THE ICONOGRAPHY OF A FALLEN LOVE (ANNE BOLEYN) has to tell a story.

About my thoughts and emotions during the painting process: Love comes, love goes. The rise and fall from grace in ten years. England in Renaissance… Speaking about Anne Boleyn, the second wife of the famous King Henry VIII who has been called the most influential and important queen consort England has ever had. In spring 1526 Henry began his pursuit of Anne Boleyn, an attractive and beautiful young lady at his court. He felt in deep love and wrote a collection of passionate love letters to her. But she resisted his attempts to seduce her, refusing to become only his mistress (which her sister Mary had been). She wanted more, and so he proposed marriage to her and she accepted. For her love he was willing to move mountains and annulled his former marriage and declared his independence from the Holy See that was the start of the English Reformation. Anne was crowned Queen of England as the second wife of King Henry VIII on 1 June 1533. She gave birth to the future Queen Elizabeth I. But as a queen Anne refused to play the submissive role expected of her. The vivacity and opinionated intellect that had made her so attractive as an illicit lover made her too independent for the largely ceremonial role of a royal wife and it made her many enemies. Henry, who started to dislike Anne’s constant irritability and violent temper, was more and more disappointed to have only a daughter rather a son. Anne’s downfall came shortly after she had recovered from her final miscarriage. At this time the king found a new mistress and needed reasons for his marriage with Anne to end. Anne Boleyn was arrested and sent to the Tower of London where a jury found she guilty for high treason. It was a propaganda trial with untrue accusations, but nobody rose the word for Anne. On the morning of Friday 19 May 1536 she was beheaded within the Tower of London and buried in an unmarked grave. The day after Anne’s execution Henry became engaged to Jane Seymour, who had been one of the Queen’s ladies-in-waiting. They were married ten days later (the third of finally six wives of King Henry VIII). Beside all politics and intrigues, what did happen to this former so passionate big love? Remember the final sentence of the famous Song of the Nibelungs (5th century): ‚At the end love bears always suffering‘. Love comes, loves goes. The rise and fall of Anne Boleyn in ten years…

The triptych combines following 3 works and should „read“ from left to right:

„AT THE DYING OF THE LIGHT“
acrylic and oil on canvas, 2016, 100 (w) x 120 (h) x 2 cm
left part of the triptych

„ARE YOU WITH ME AT FIRST AND LAST LIGHT“
acrylic and oil on canvas, 2016, 120 (w) x 150 (h) x 2 cm
center part of the triptych

„THE AWAKENING COASTLAND“
acrylic and oil on canvas, 2016, 100 (w) x 120 (h) x 2 cm
right part of the triptych

* * * *

„I beseech you now with all my heart definitely to let me know your whole mind as to the love between us…“
– Extract of a love letter from Henry VIII to Anne Boleyn (at the beginning of their relationship)

„O Death, rock me asleep, bring me to quiet rest, let pass my weary guiltless ghost out of my careful breast.“
– Anne Boleyn (on the verge of her execution)

„Of all losses, time is the most irrecuperable for it can never be redeemed.“
„Two beheadings out of six wives is too many.“
– Henry VIII of England (as an old man)

 


 

THE GENTLE ABSTRACTION OF LIGHT
(DIE SANFTE ABSTRAKTION DES LICHTS)
Triology 2016
acrylic and oil on canvas
370 (w) x 120 (h) x 2 cm

The triology THE GENTLE ABSTRACTION OF LIGHT is consciously inspired by the famous Norwegian painter Edvard Munch (1863-1944) and his works of the Classical Modernity (Expressionism). He had the theory of paintings as poems. Munch often combined different paintings as „Frieze“ (serial) to show the major life topics in different stages. I share Munch’s creative opinion for a part of my works, that paintings contain not only a creative message as single piece. You can look at them also in a major conceptional context, from aesthetic standpoints as well as with regard to contents.

My triology THE GENTLE ABSTRACTION OF LIGHT deals with the birth of light and its abstraction. We cannot live without light and warmth, light is our companion from the first until our last day. And we all walk under the same sun that already warmed the faces of Alexander the Great, Cleopatra, George Washington, Abraham Lincoln… -there is one philosophical question behind the sunny and colourful surface: Where did we come from, where will we go tomorrow? And maybe more important: between yesterday and tomorrow, between birth and death, where is our place, where is the shelter which gives us light, peace and confidence that we are leaving positive traces in space and time.

All three paintings are part of my current series INNOCENCE. The triology combines following three important works of the series and should „read“ from left to right:

RISE:
„THE BIRTH OF LIGHT AND TRUTH“
acrylic and oil on canvas, 2016, 120 (h) x 100 (w) x 2 cm

FORMING:
„THE POEM THAT TOOK THE PLACE OF A SUNRISE“
acrylic and oil on canvas, 2016, 120 (h) x 150 (w) x 2 cm

AFTERGLOW:
„WE WERE GIANTS IN THE MORNING LIGHT“
acrylic and oil on canvas, 2016, 120 (h) x 100 (w) x 2 cm


 

 

HOME TO THE GOLDEN SHORES I BELONG
triptych 2014
acrylic and oil on canvas
310 (w) x 120 (h) x 2 cm

3 LARGE-SIZED PAINTINGS
LARGE-SIZED TRIOLOGY AS TRIPTYCH

I share the opinion of the famous Norwegian painter Edvard Munch (1863-1944), that paintings contain not only a creative message as single piece. You can look at them also in a major conceptional context. This triology HOME TO THE GOLDEN SHORES I BELONG combines three essential of my works (2013/14) from aesthetic standpoints as well as with regard to contents.

Dream me home to the golden shores I belong… Life isn’t always a bed of roses but a rollercoaster and a challenging journey. And days aren’t always golden and sunny. There is a breaking point in every life and it happens sooner or later. You wake up and the world isn’t the same anymore. A zero point in your head and heart. Black mountains to your back, and inner storms kill your last dreams and heroes. But you don’t give up. Whatever will happen, you remember your childhood, the warmth of the fireplace and all the cozy feelings. Home is your mental shelter from the poisoned rain, the safehouse where your familiy leaves a light on. And if the world would end tomorrow morning, you don’t care tonight. You face your melancholy and the tears. Home is where your heart is. Home is where the sea gulls cry, where the waves break at the golden coast and winds from the North whisper your name. Maybe you are lost in thoughts on open sea. But sirens and mermaids laugh and call your sinking ships back to the port. This not the time to give up. There’s always a light to follow and to find your way through the winter night. Home is your guidepost. And you say: Dream me home to the golden shores I belong…

The triptych combines following 3 works and should „read“ from left to right:

„SHOW ME A PLACE THAT LIVES UP TO ITS PROMISE“
acrylic and oil on canvas, 2014, 100 (w) x 120 (h) x 2 cm
left part of the triptych

„KRIEMHILD SEEKS REVENGE“
acrylic and oil on canvas, 2013, 100 (w) x 120 (h) x 2 cm
center part of the triptych

„FANCY AND FATE EARLY IN THE MORNING“
acrylic and oil on canvas, 2014, 100 (w) x 120 (h) x 2 cm
right part of the triptych

* * * *

“How often have I lain beneath rain on a strange roof, thinking of home.”
– William Faulkner

 


 

 

FROM THE FIRST LIGHT TO THE VERY LAST LIGHT
Triptych 2017
acrylic and oil on canvas
380 (w) x 150 (h) x 4,5 cm

LARGE-SIZED PAINTINGS
LARGE-SIZED TRIOLOGY AS TRIPTYCH
XL-SIDES/EDGES

I share the opinion of the famous Norwegian painter Edvard Munch (1863-1944), that paintings contain not only a creative message as single piece. You can look at them also in a major conceptional context. This triology FROM THE FIRST LIGHT TO THE VERY LAST LIGHT combines three new and essential of my works (2017) from aesthetic standpoints as well as with regard to contents.

Over the years the circle of life became more and more a major painting topic. I don’t speak about the big events and actions. Life is always a mixture of little moments and small but not marginal key experiences. That’s what we remember when we look back. Not the complete story of our life from a to z, but just a few important breathtaking moments. Life is a circle and follows the run of the sun: we awake, we rise up, we take a deep breath before we fall down again and fade. This triptych is the result of long-lasting creative inner fights (and sleepless nights too), combines following works and should „read“ from left to right:

*

The Awakening…
„WAKE ME GENTLY BEFORE THE SUN RISES“
acrylic and oil on canvas, 2017, 120 (w) x 150 (h) x 4,5 cm
left part of the triptych

We are giants in the morning light. We don’t have questions in the beginning. Every breath is a sunny day and paradise. No doubts in our head and heart. We don’t know fears about the future. We are alive and we feel and we dont’t need and we don’t want more. We believe that these sound and safe days and nights are endless. But we have to grow up sooner or later.

*

The Breathing…
„LET ME REMAIN WHERE THERE IS LIGHT“
acrylic and oil on canvas, 2017, 120 (w) x 150 (h) x 4,5 cm
center part of the triptych

Our sun is at the zenith. We are invincible, and we stand our ground. We fight and love and love and fight. This is the time of our life that we will remember yearningly in ten and in twenty years. We are not innocent any longer but we have the right to make our own mistakes. And we carry endless dreams in us and the world has no limits. We laugh and kiss and remember Samuel Beckett: Ever try. Ever failed. No matter. Try again. Fail again. Fail better. – Wind will change sooner or later and suddenly there are first clouds in our summer sky.

*

The Fading…
„WE BECOME SILENT WHEN THE TWILIGHT FALLS“
acrylic and oil on canvas, 2017, 120 (w) x 150 (h) x 4,5 cm
right part of the triptych

Late summer turns to autumn, and the winter is just a question of time. The show isn’t over with one last bang. It is a slow process with countless steps from the light into the dark. The sun already descents. But we want to resist, we want to stop the run of the sun, and if it’s only for a little while. But we are no gods. We are not immortal. And tears fall. We feel too young to say goodbye. But we can be proud because we leave footprints here on earth. And it’s not over now. We begin to accept our fate and enjoy the time that is given to us. Hope and love are the answers that help us through leaden hours. We smile and kiss and drink and remember Dylan Thomas: we don’t go gentle into that good night. There is no real finale, we are just a small part of the circle.

* * * *

„There is not one big cosmic meaning for all, there is only the meaning we each give to our life, an individual meaning, an individual plot, like an individual novel, a book for each person.“
– Anais Nin (1903 – 1977)

 


 

A WAR TO END ALL WARS
Triptych 2014
acrylic and oil on canvas
380 (w) x 150 (h) x 2 cm

LARGE-SIZED PAINTINGS.
LARGE-SIZED TRIOLOGY AS TRIPTYCH.

I share the opinion of the famous Norwegian painter Edvard Munch (1863-1944), that paintings contain not only a creative message as single piece. You can look at them also in a major conceptional context. This triology A WAR TO END ALL WARS combines three essential of my works (2013/2014) from aesthetic standpoints as well as with regard to contents.

„The war to end all wars“ (sometimes also „the war to end war“) is a very famous term of World War I, created in August 1914 and originally used in an idealisitc way. Young men in the trenches believed in that phrase, and it gave apparently a sense to all the bloodshed. After it was over, the world wanted to prevent such slaughter from ever happening again. Unfortunately, rather than end war, the harsh terms of the Treaty of Versailles in 1919 set the stage for World War II.

The triptych combines following works and should „read“ from left to right:

„VALHALL IN AUTUMN“
acrylic and oil on canvas, 2013, 120 (w) x 150 (h) x 2 cm
left part of the triptych

„NOVEMBER AT THE SOMME“
acrylic and oil on canvas, 2014, 120 (w) x 150 (h) x 2 cm
center part of the triptych

„LET US BUILD A NEW JERUSALEM II“
arylic and oil on canvas, 2013, 120 (w) x 150 (h) x 2 cm
right part of the triptych

* * * *

„It is good that war is so horrible, or we might grow to like it.“
– Robert E. Lee

 


 

UNTIL THE BLUE SKIES DRIVE THE DARK CLOUDS FAR AWAY
150 x 120 x 2 cm
acrylic and oil on canvas
2017

By the wan light – glass moon
In the autumn mist – winter’s wasteland
Let us lay down – fall asleep
Do not wake up – do not breathe
Till the summer skies – white nights
Drive the blue clouds – dark thoughts
Far away – far from here.

* * *

“You cannot swim for new horizons until you have courage to lose sight of the shore.”
– William Faulkner

 


 

SEA AND SKY AND MELANCHOLIA AT THE END OF SUMMER II
Triptych 2017
acrylic and oil on canvas
380 (w) x 150 (h) x 2 cm

LARGE-SIZED PAINTINGS.
LARGE-SIZED TRIOLOGY AS TRIPTYCH.

I share the opinion of the famous Norwegian painter Edvard Munch (1863-1944), that paintings contain not only a creative message as single piece. You can look at them also in a major conceptional context. This triology SEA AND SKY AND MELANCHOLIA AT THE END OF SUMMER combines three new and essential of my works (2015/2016) from aesthetic standpoints as well as with regard to contents.

Summer is over soon and the days getting shorter again. Autumn is on the way. We feel the last warm breeze on our skin. Blue surrounds us and is the dominant colour. We are in between summer and autumn, in between blossom and fading. But we are just bystanders, we have no right to a say in a matter. Sea and sky exist from the beginning to the end of all times. And what about us? Do we have collect enough precious summer moments to survive the cold and darker days? With every new year the summer feels shorter, and life too. Where are the endless summer months at the seaside, far away from daily routine, where are our younger and lighthearted days? Hope is beyond the horizon line. But we are fighters and we have nothing to fear. Sea and sky and sometimes also melancholia will accompany us. And we should remember Dylan Thomas and his poem: „Do not go gentle into that good night.“ Next summer will come. Farewell warming sun. This is not the finale.

The triptych combines following works and should „read“ from left to right:

„UNTIL THE BLUE SKIES DRIVE THE DARK CLOUDS FAR AWAY“
acrylic and oil on canvas, 2017, 120 (w) x 150 (h) x 2 cm
left part of the triptych

„WHERE THE WHITE WINDS BLOW“
acrylic and oil on canvas, 2017, 120 (w) x 150 (h) x 2 cm
center part of the triptych

„COLD WATER BELOW THE SURFACE OF YOUR SOUL“
arylic and oil on canvas, 2016, 120 (w) x 150 (h) x 2 cm
right part of the triptych

* * * *

„Do not go gentle into that good night
Rage, rage again the dying of the light.“
Dylan Thomas

 


 

TIME IS DANCING FROM SUNSET TO SUNRISE
Triptych 2017
acrylic and oil on canvas
380 (w) x 150 (h) x 2 cm

LARGE-SIZED PAINTINGS.
LARGE-SIZED TRIOLOGY AS TRIPTYCH.

I share the opinion of the famous Norwegian painter Edvard Munch (1863-1944), that paintings contain not only a creative message as single piece. You can look at them also in a major conceptional context. This triology TIME IS DANCING FROM SUNSET TO SUNRISE combines three new and essential of my works (2016/2017) from aesthetic standpoints as well as with regard to contents.

One day from sunset to sunrise. One day and month, one season and year, one life. We are on a journey. There’s no standstill. The clock is ticking. Carpe diem et memento mori. Time is dancing and fading. We all have a fate. But it’s not of us to decide. All we have to decide is what to do with the time that is given to us. And so every day, every breath is precious and beyond retrieval. Scars remind us of our history. The small and the big stories of our life. We don’t remember every face and place. But we feel what we were and what we are. Carpe diem et memento mori – remember that you will die and seize the day.

The triptych combines following works and should „read“ from left to right:

„LET ME BELIEVE (TRUE AT FIRST LIGHT IV)“
acrylic and oil on canvas, 2017, 120 (w) x 150 (h) x 2 cm
left part of the triptych

„WHERE THE SUMMER NEVER ENDS“
acrylic and oil on canvas, 2016, 120 (w) x 150 (h) x 2 cm
center part of the triptych

„TO THE EDGE OF THE WORLD AND BEYOND“
arylic and oil on canvas, 2016, 120 (w) x 150 (h) x 2 cm
right part of the triptych

* * * *

„Scars have the strange power to remind us that our past is real.“
– Cormac McCarthy (ex: All the Pretty Horses)

 

 


 

THE TOWERS BEGIN TO FALL
2017
150 (h) x 120 (w) x 2 cm
acrylic and oil on canvas

Inspired by the history of the medieval Kingdom of Jerusalem and the fall of Acre 1291: We hardly remember the names and the knightly bravery of the defenders, we hardly imagine the deepness of their religion and Christian motivation, but the fall of Acre was one of the most important battles of that medieval period. Acre was the capital of the Latin Kingdom of Jerusalem, a crusader state established by European Christian knights in the Southern Levant after the First Crusade in 1099. The kingdom lasted nearly two hundred years, from 1099 until 1291 when the last remaining possession, Acre, was destroyed by the Mamluks. Acre was well defended by knights, with two lines of thick walls and had twelve powerful towers (which were built by European kings and rich pilgrims). The siege began on the 6th April 1291. The Sultan’s catapults battering the walls, Muslim troops attacked the walls day by day. Resistance weakened after six weeks of bloody defense and TOWER AFTER TOWER FELL TO THE GROUND in ruins. Muslim forces entered the streets on the 18th May 1291 and before nightfall Acre was in Sultan’s hands and a massacre started. It signaled the end of the Jerusalem crusades. The Holy Land and the Kingdom of Jerusalem were lost forever.

In other but very true words:
“What’s done cannot be undone.”
Shakespeare (ex: Macbeth)

 


WHEN MORNING CONQUERS THE DARK OF NIGHT
2017
150 (h) x 120 (w) x 2 cm
acrylic and oil on canvas

In the darkest hour
As far as I can see
Stand my ground
Be the morning light
Post tenebras lux
Light after darkness

In the deepest sleep
As long as I can breathe
Stand close to me
Be my morning prayer
Lux omnia vincit
Light conquers all.

* * * *

“Darkness cannot drive out darkness; only light can do that.
Hate cannot drive out hate; only love can do that.“
– Martin Luther King, Jr.

 


BEFORE IT’S GETTING DARKER THESE DAYS
2016
150 (h) x 120 (w) x 4,5 cm
acrylic and oil on canvas

Don’t fear the dark
Leave a light on
Fires still burning
Stars still wandering
Beyond the horizon line

Take a walk at last light
Before it’s getting colder at night
Before it’s getting harder to breath
From the sky and fountain to the sea
I pray you will be with me

Take my hand on secret ways
Before it’s getting darker these days
Before it’s getting harder to leave
From all the stars and mountains to the sea
I hope you will be with me

* * * *

“The darker the night, the brighter the stars,
The deeper the grief, the closer is God!”
Fyodor Dostoyevsky (ex: Crime And Punishment)

 


1

 

A WINTER DAYBREAK ABOVE VENICE
2016
120 (w) x 80 (h) x 2 cm
acrylic and oil on canvas

Winter in Venice.
Fog rolls over the island.
Dimmed light and subdued colors everywhere.
Venetians speak in a hushed tone, dressed in fur coats and hats.
Low voices from the piazzas, churches and small restaurants.
Gondoliers guide their narrow boats out of the mist.
Winter is a romantic season, a poem of the golden age.
Time stands still, world stands still.
Winter in Venice.
Waiting for a daybreak.

* * * *

Venice was and is full of lost places where people put up for sale the last worn bits of their souls, hoping no one will buy.”
– Ray Bradbury

 


45

 

WAITING FOR THE SEA AT NIGHT
2016
150 (h) x 120 (w) x 4,5 cm
acrylic and oil on canvas
 

Where did we come from
Do you remember
Nights at the beach
A new world to conquer
A sky full of cold stars
But the cruel deep sea
This is not the way home
Where did we go wrong
Where will we go from here
Waiting for the sea at night?

* * * *

“I am longing to be with you, and by the sea,
where we can talk together freely and build our castles in the air.”
– Bram Stoker (ex: Dracula)

 


7

 

WHERE THE SUMMER NEVER ENDS
2016
150 (h) x 120 (w) x 2 cm
acrylic and oil on canvas

Be aware I’m dreaming the dark
A fallen king, a stranded soul
Without a throne, without an ark
Somewhere, somehow
Wanna find shelter from the cold.

Can’t you see I’m yearning for light
A ground to live, a space to be
A place to keep me warm at night
Somewhere far from here
Where the summer never ends.

* * * *

„He who has a why to live can bear almost any how.“
Friedrich Nietzsche


2

 

BLOOD WILL HAVE BLOOD
2016
150 (h) x 120 (w) x 2 cm
acrylic and oil on canvas

I often mediate on Shakespeare and his ageless dramatic scenarios. I do love his very poetic but razor-sharp, brilliant psychological consideration of the human being. Remember Macbeth. Striving for power — political, financial, intellectual, sexual — ruled, rules and will rule the world. We aren’t more than a stone’s throw away from former generations and centuries and from Scotland in the summer of 1057 (the death of king Macbeth).

Macbeth to Lady Macbeth:
„It will have blood, they say; blood will have blood.“
(Shakespeare: ex Macbeth, act III scene IV)


5

 

SEA AND SKY AND MELANCHOLIA AT THE END OF SUMMER
Triptych 2016
acrylic and oil on canvas
380 (w) x 150 (h) x 2 cm

LARGE-SIZED PAINTINGS.
LARGE-SIZED TRIOLOGY AS TRIPTYCH.

I share the opinion of the famous Norwegian painter Edvard Munch (1863-1944) that paintings contain not only a creative message as single piece. You can look at them also in a major conceptional context. This triology SEA AND SKY AND MELANCHOLIA AT THE END OF SUMMER combines three new and essential of my works (2015/2016) from aesthetic standpoints as well as with regard to contents.

Summer is over soon and the days getting shorter again. Autumn is on the way. We feel the last warm breeze on our skin. Blue surrounds us and is the dominant colour. We are in between summer and autumn, in between blossom and fading. But we are just bystanders, we have no right to a say in a matter. Sea and sky exist from the beginning to the end of all times. And what about us? Do we have collect enough precious summer moments to survive the cold and darker days? With every new year the summer feels shorter, and life too. Where are the endless summer months at the seaside, far away from daily routine, where are our younger and lighthearted days? Hope is beyond the horizon line. But we are fighters and we have nothing to fear. Sea and sky and sometimes also melancholia will accompany us. And we should remember Dylan Thomas and his poem: „Do not go gentle into that good night.“ Next summer will come. Farewell warming sun. This is not the finale.

The triptych combines following works and should „read“ from left to right:

„EVENFALL AT THE FRONTIER“
acrylic and oil on canvas, 2015, 120 (w) x 150 (h) x 2 cm
left part of the triptych

„WHERE THE WHITE WINDS BLOW“
acrylic and oil on canvas, 2016, 120 (w) x 150 (h) x 2 cm
center part of the triptych

„TO THE EDGE OF THE WORLD AND BEYOND“
arylic and oil on canvas, 2016, 120 (w) x 150 (h) x 2 cm
right part of the triptych

This triology contains 3 single paintings, each in acrylic and oil on canvas and with dimensions of 120 (w) x 150 (h) cm. I prefer a hanging distance each of 10 cm between the 3 single paintings. Complete dimensions of this artwork, including the hanging space between the single paintings: 380 (w) x 150 (h) x 2cm.


cfr

 

AT THE DYING OF THE LIGHT (right) & THE AWAKENING COASTLAND (left) are the fruits of a long-term internal creative dialogue with the use and meaning of the colors Gold and Copper. I do love the famous use of these colors by Gustav Klimt and by medieval iconographers. My own contemporary interpretation (or maybe transfer) features dozens of color layers and gradients mixed with Gold, Copper and Earth-Colors. The surface of the painting is — as a desired part of the creative process — predominantly shiny and smooth but elsewhere rough and matt (please have a look at the meaningful photos of the painting).

right:

AT THE DYING OF THE LIGHT
2016
120 (h) x 100 (w) x 2 cm
acrylic and oil on canvas

From beyond the horizon
Call my ships back to port.
Will you still remember me
At the last remaining light?

Both summer and winter
Be my pole, be my lodestar.
Will you still believe in me
At the dying of the light?

* * * *
“Do not go gentle into that good night.
Rage, rage against the dying of the light.”
Dylan Thomas (1914 – 1953)

* * * *

left:

THE AWAKENING COASTLAND
2016
120 (h) x 100 (w) x 2 cm
acrylic and oil on canvas

Nightingale
In the name of love
Are you with me
Open water
Inside and outside
Hope and soul
When Southern winds
Whisper your name?

Nightmare
Under your black flag
Are you with me
Deep blue sea
Rise and fall
Noble metal
When former ghosts
Reawake my past?

* * * *
“The world breaks everyone, and afterward, some are strong at the broken places.”
Ernest Hemingway


1

 

PLATA O PLOMBO (SILVER OR LEAD)
2016
120 (h) x 100 (w) x 4 cm
acrylic and oil on canvas

About the title: plata o plombo, silver or lead. In short, it means “Accept this money or get shot“. Accept a bribe or be assasinated. Do what the hell I tell you and I will make it worth your while or I will blow your head off. This is a common term especially for the Mexican drug cartels today but it was first systematically used by the drug lord Pablo Escobar to establish his brutal Columbian narco empire.

* * * *

“Las mentiras son necesarias cuando la verdad es muy difícil de creer.“ (Lies are necessary when the truth is very hard to believe.)
Pablo Escobar

“Whoever fights monsters should see to it that in the process he does not become a monster. And if you gaze long enough into an abyss, the abyss will gaze back into you.”
Friedrich Nietzsche


3c

 

CRY ME A RIVER OF GOLD
2016
120 (h) x 100 (w) x 4 cm
acrylic and oil on canvas

In the light of your dying sun
When the sky falls to the sea
Give me a reason to hold on
In the cold rain of a winter’s day 
When your moon devours the stars
Give me something to believe in
In the dead of a sleepless night
Before your kiss becomes a memory
Give me something to remember you
And cry me a river of gold

* * * *

“The tears of the world are a constant quantity. For each one who begins to weep somewhere else another stops. The same is true of the laugh.”
Samuel Beckett (ex: Waiting for Godot)

“Thoughts are the shadows of our feelings — always darker, emptier and simpler.”
Friedrich Nietzsche


gg

 

POETRY OF A WARM SUMMER BREEZE
Diptych 2016.
255 (w) x 150 (h) x 4 cm
acrylic and oil on canvas

Meet me by the water’s edge
After the summer rain has passed
Wake me up in a new year’s morning
Wake me up in a pure day’s warming
Where the hopeful sun is shining
Bright and white on your horizon
After the summer rain has passed
Meet me by the water’s edge

Meet me by the water’s edge
After the summer rain has passed
Lay me down in a winter’s evening
Lay me down in a midnight’s healing
Where the promised stars are rising
Above your calm and free horizon
After the summer rain has passed
Meet me by the water’s edge

* * * *

„Everything good, everything magical happens between the months of June and August.“
Jenny Han (ex: The Summer I Turned Pretty)

* * * *

There is a silent and deep beauty in the basic things. We are (still) full of hope and we feel the circle of life when spring meets summer. Of course all our wishes will not come true. But this isn’t so crucial. More important is our hope and belief in the gift of life. These are the promises of the first warm summer breezes and every ray of light. The diptych combines following works and should „read“ from left to right:

left part:
AFTER THE SUMMER RAIN HAS PASSED
acrylic and oil on canvas, 2016, 120 (w) x 150 (h) x 4 cm

right part:
MEET ME BY THE WATER’S EDGE
acrylic and oil on canvas, 2016, 120 (w) x 150 (h) x 4 cm

 


g67

 

IN THE DARKNESS BEFORE THE DAWN LEAVE A LIGHT ON
2016
100 (h) x 81 (w) x 2 cm
acrylic and oil on canvas

Leave a light on
Don’t fear the darkness
Hope is the bridge
Haven and home
Love is the light
Moon and sun
I am with you
And you are with me
Leave a light on
Dawn is coming.

* * * *

„Love is not consolation. It is light.“
Friedrich Nietzsche

 


angels1

ANGELS & MERMAIDS
diptych 2016
210 (w) x 120 (h) x 4 cm
acrylic and oil on canvas

Angel in ghostland
With the face of a saint
The walk of a queen
Make me believe
You turn water into wine
Angel in ghostland
Why did you leave heaven?

Mermaid in dry land
With the look of a muse
The touch of a nurse
Let me believe
You will walk on water
Mermaid in dry land
Did you leave heaven for love?

* * * *

„When we love, we always strive to become better than we are. When we strive to become better than we are, everything around us becomes better too.“
Paulo Coelho (ex: The Alchemist)

 


fallen1

 

THE BITTERSWEET FALLEN LIGHT AT EVENTIDE
2016
150 (h) x 120 (w) x 2 cm
acrylic and oil on canvas

A secret pond
Golden and calm…

Remember me
When you take a walk at the waterside
The man, the king and his demons
Afterglow of our fallen summer light

Remember me
And I will remember you
When I go for a swim at night
The woman, the queen and her poison
Swan song of our bittersweet eventide.

* * * *

“Anyone who has lost something they thought was theirs forever finally comes to realise that nothing really belongs to them.”
Paulo Coelho

* * * *

THE BITTERSWEET FALLEN LIGHT AT EVENTIDE is the beautiful fruit of another long-lasting creative fight and features dozens of colour layers and gradients.


skyllacharybdiszusammen_context2

SCYLLA AND CHARYBDIS
Diptych 2016
260 (w) x 150 (h) x 2 cm
acrylic and oil on canvas

Charybdis was the daughter of Poseidon and Gaia and lived as a loyal servant to Poseidon. She aided him in his feud with Zeus, and as such, helped him engulf lands and islands in water. Zeus, angry for the land she stole from him, cursed her into sea monster. Charybdis was believed to live under a small rock on one side of a narrow channel. Opposite her was Scylla, another sea monster that lived inside a much larger rock. The sides of the strait were within an arrow-shot of each other, and sailors attempting to avoid one of them would come in reach of the other (Homer, Odyssey Book XII). The myth is still alive. To be „between Scylla and Charybdis“ therefore means to be presented with two opposite dangers, the task being to find a route that avoids both.

The LARGE-SIZED DIPTYCH contains two paintings and should “read” from left to right:

“SCYLLA”
2016, 150 (h) x 120 (w) x 2 cm
acrylic and oil on canvas

“CHARYBDIS”
2016, 150 (h) x 120 (w) x 2 cm
acrylic and oil on canvas

 


wherethewhitewindsblow

 
 

WHERE THE WHITE WINDS BLOW
WO DIE WEIßEN WINDE WEHEN
150 x 120 x 2 cm
acrylic and oil on canvas
2016

Winter is coming
Where the white winds blow
And time stands still in frozen blue
Winter is coming
Where the dark tales glow
And beats of heart become loose ice.

“Painted in the middle of a winter’s storm and inspired by the rough landscapes of Greenland, by the music of Sigur Rós and Björk and by the motto of House Stark from Game Of Thrones.“


evenfallatthefrontier

EVENFALL AT THE FRONTIER
NACHT FÄLLT ÜBER DIE GRENZE
150 x 120 x 2 cm
acrylic and oil on canvas
2015

We are like nations in arms
Hundred abysses seperate us
Not the first frozen winter
But history teaches nothing
Don’t speak a word before dawn
Night and fog overcome borders.

To say it in different words: “Moreover, perhaps it isn’t love when I say you are what I love the most – you are the knife I turn inside myself, this is love.“
Franz Kafka (Letters to Milena)


 

P1030925

 

THE INNOCENCE OF A SUNDAY MORNING
DIE UNSCHULD EINES SONNTAGMORGENS
150 x 120 x 2 cm
acrylic and oil on canvas
2015

Innocent sun is rising
Everything wears a new name
All seems gone and forgotten
In the first hour of the day
But do you remember us
Forever under a California sky?


true at first light

TRUE AT FIRST LIGHT
DIE WAHRHEIT IM MORGENLICHT
150 x 120 x 2 cm
acrylic and oil on canvas
2015

In the last hour of the night
Our intentions are fine
And we believe in world’s beauty
Till we betray what we’re fighting for
Till all is aflame what we should love
Till first light will wake us up again.

To say it in different but very true words by Hemingway:
“All things truly wicked start from innocence.“

“True At First Light“ (in German: Die Wahrheit im Morgenlicht) is the title of the last published novel by the US-American novelist Ernest Hemingway, written until 1954, but first released by the son decades after his death.


watermark_theseainsideus

THE SEA INSIDE US
DAS MEER IN UNS
Triology 2015
acrylic and oil on canvas
375 (w) x 150 (h) x 2 cm

I share the opinion of the famous Norwegian painter Edvard Munch (1863-1944), that paintings contain not only a creative message as single piece. You can look at them also in a major conceptional context. This triology THE SEA INSIDE US combines three new and essential of my works from aesthetic standpoints as well as with regard to contents:

The Morning – The Day – The Evening. Lights and colours during the day are different. There are commonalities, but every phase of the day stays independent und has its very own feelings. The sea was, is and always will be a major place of longing for humans. The numeration is almost limitless: brightness, the Azure, summer (although I love the hibernal sea too), sand, waves, neverending noises of brakers and sea gulls, salt in the mouth and at the skin. Warmth, wanderlust and downtime. The sea deeply touches in its nativeness, autarchy, also destructiveness and its existence from the beginning to the end of all times. Everyone of us ties his own stories with the sea.
The triology combines following works and should „read“ from left to right:

THE MORNING:
TRUE AT FIRST LIGHT
acrylic and oil on canvas, 2015, 120 (w) x 150 (h) x 2 cm
THE DAY:
MY HOUSE AT THE SEA
acrylic and oil on canvas, 2014, 120 (w) x 150 (h) x 2 cm
THE EVENING:
THE LIGHT BETWEEN THE OCEANS
arylic and oil on canvas, 2014, 120 (w) x 150 (h) x 2 cm

This triology contains 3 single paintings, each in acrylic and oil on canvas and with dimensions of 120 (w) x 150 (h) cm. I prefer a hanging distance each of 7,5 cm between the 3 single paintings. All paintings are ready to hang and need a single hanging (no backside connections between the paintings). Complete dimensions of this artwork, including the hanging space between the single paintings: 375 (w) x 150 (h) x 2cm.


 

watermark_lifeloveanddeath

LIFE, LOVE & DEATH IN MODERN TIMES
LEBEN, LIEBE & TOD IN MODERNEN ZEITEN
Triology 2015
acrylic and oil on canvas
375 (w) x 150 (h) x 2 cm

The triology LIFE, LOVE & DEATH IN MODERN TIMES is consciously inspired by the famous Norwegian painter Edvard Munch (1863-1944) and his works of the Classical Modernity (Expressionism). He had the theory of paintings as poems about life, love and death. Munch often combined different paintings as „Frieze“ (serial) to show the major life topics in different stages.

I share Munch’s creative opinion for a part of my works, that paintings contain not only a creative message as single piece. You can look at them also in a major conceptional context, from aesthetic standpoints as well as with regard to contents. Contemplation of your own life, starting with innocence and youth, then love and all the fights, afterwards the loss of good and evil, right and wrong and the early autumn, ending with the awareness of your own fugacity and death. There’s a lot of wiggle room in this triology. It’s very personal, we all are precious blinks of an eye, and that’s why general statements about triology’s content are inadmissible. The triology combines following works and should „read“ from left to right:

LIFE:
NOVEMBER AT THE SOMME
acrylic and oil on canvas, 2014, 120 (w) x 150 (h) x 2 cm
LOVE:
HERE I SIT, FORMING HUMANS (PROMETHEUS)
acrylic and oil on canvas, 2014, 120 (w) x 150 (h) x 2 cm
DEATH:
STRANGER, GO TELL THE SPARTANS
acrylic and oil on canvas, 2014, 120 (w) x 150 (h) x 2 cm

This triology contains 3 single paintings, each in acrylic and oil on canvas and with dimensions of 120 (w) x 150 (h) cm. I prefer a hanging distance each of 7,5 cm between the 3 single paintings. All paintings are ready to hang and need a single hanging (no backside connections between the paintings). Complete dimensions of this artwork, including the hanging space between the single paintings: 375 (w) x 150 (h) x 2cm.


P1030914

HERE I SIT, FORMING HUMANS (PROMETHEUS)
HIER SITZ‘ ICH, FORME MENSCHEN (PROMETHEUS)
2014. 150 x 120 x 2 cm. acrylic and oil on canvas

Here I sit, forming humans
In my image;
A race, to be like me,
To suffer, to weep,
To enjoy and delight themselves,
And to mock you –
As I do!

Poem by Johann Wolfgang von Goethe (1779), 7th and last verse, in which the character of the mythic Prometheus addresses God (as Zeus) in misotheist accusation and defiance. It is an important work of the Sturm und Drang movement. The poem was set to music by J. F. Reichardt, Schubert, Hugo Wolf and others.


1

TIME GOES BY IN BEAUTY AND MELANCHOLIA
DIE ZEIT VERGEHT IN SCHÖNHEIT UND SCHWERMUT
2014. acrylic and oil on canvas. 150 x 120 x 4 cm


vier

JUDITH & HOLOFERNES I
left part of the triptych “JUDITH & HOLOFERNES“
2014. 120 x 100 x 4 cm. acrylic and oil on canvas
(complete triptych: 390 x 120 x 4 cm)

In older days the Assyrian army was about to destroy the city Bethulia, home of the religious beautiful widow Judith. She wanted to save her hometown and the residents and ask God for patronage. At night she entered the tent of Holofernes, the Assyrian general, and offered him wine and her body. He desired Judith, but she made him drunk. Holofernes passed out and was decapitated by Judith, who took his head away in a basket. Afterwards the hostile army was panic-stricken and fled (Book of Judith, Old Testament).

Complete triptych (part I – III):

watermark_triptych2

Triptych “JUDITH & HOLOFERNES“. 2014. 390 x 120 x 4 cm


watermark_Mein_Haus_am_Meer

MY HOUSE AT THE SEA
MEIN HAUS AM MEER

2014
150 x 120 x 2 cm
acrylic and oil on canvas

You are welcome
At my house at the sea
Where arms are wide open
And the mind is free
You are welcome
At my house at the sea
Til winds will turn
And summer will leave