Here you will find the answer to the question I'm frequently asked:
"What do you paint?"
Many of my fellow artists will agree that talking about your own art is not easy. That is, talking is alright, I don't like explaining. I'll tell you why later.
I am a figurative painter. I apply oil colour with brushes on medium dense fibreboard (MDF). I prefer this support to canvas for two reasons. It is rigid, which allows me a better flow when drawing with paint. In my work, drawing and painting walk hand in hand. It's second virtue consists in it's base tone - a greyish-yellow-brown tint. This serves, as my starting point, as well as the inspiration for my colour scheme, and little bits of it stays visible in almost all my paintings.
Just as the sculptor knows his subject is already there in the stone in front of him, I can feel my aspired figure waiting for me in the almost skin-toned ground - I just have to help it surface.
This touches on my subject matter. I paint figures, people, characters and personalities; all made up in my mind. Imaginary portraits with imaginary clothes in an imaginary environment, sometimes on their own, sometimes in company. I work without models or setups. My source of inspiration resides in things seen, lived, heard or read. Some details are biographic and personal. When I paint children, I rely on my childhood memories, for example, as a child I often wore woolen stockings when at home, so do the children in my paintings. Few things gave me greater pleasure than looking through my parents childhood photos, there, almost all the girls wore ribbons in their hair. The Papua-sculpture in the arms of The Consul's Son lives in my entrance hall, etc..
Family life must be my most treated subject. I find it fascinating - also in art. Family stands for unity and diversity at the same time. Explosive material for conflict! A bonus in some ways, since I'm already exited by the tension (or not) between people's appearances and their inner being. I cherish beauty and ugliness both. However, what captures me most is what lies in-between - as long as it is able to astonish. I'm sensible to dissonance. Neither in the composition, nor in the colour balance of my paintings, but small disharmonies between depicted characters do add a little spice. It makes me smile.
Now I get to the explanation of why I can't explain. Please, keep this secret. As soon as my paintings meet a beholder, and you will soon be one of them, they start to develop their own lives -a different one for each beholder! For, my spectators do not agree: One perceives a character imprisoned by bourgeoisie and bars (patterned wallpaper), another worries about the child's state of health, yet another has wild theories about the missing father and his social background. One is saddened, one is amused. Long live ambiguity! Then, there is international touch. Anglo-Saxons tend to perceive my art as german, Germans sense a certain frenchness, and the French detect an english sense of humour.
Imagine my joy; without any explanation of mine, my characters are free to live different stories in different worlds.
Therefore I see my art as follows: I provide characters willing to communicate, a title and a setting - the real story though, lies in the eye of the beholder...
By the way, my paintings are not carriers of doctrines or messages, moral or other.