Oil paintings

Image by Henri Schram, student of the class Joseph Beuys, Norbert Kricke, Erwin Heerich at the Kunstakademie Düsseldorf

Without title 1967 Oil on pressed carton

Untitled 1 1970 Oil on paper

Untitled 3 1970 Oil on paper

Untitled 5 1970 Oil on paper

Untitled 4 1970 Oil on paper

Untitled 2 1970 Oil on paper

Untitled 6 1970 Oil on paper

Tiny wooden door 1972 Oil on canvas

Some words about the oil paintings done as of 1972 until 1976

The way in which the object is depicted is meant to have a profound impact on the viewer, going far beyond visual perception. Through the realistic representation of the objects, without personal emotional reactions or subjective interpretations of the painter, the viewer’s focus is directed toward the object itself, allowing it to exist in its pure form. A distance is created between the representation and the painter’s emotional world, allowing the object itself to take center stage and giving the viewer the freedom to experience it without preconceived interpretations.

The aim is to lead the viewer to contemplation and reflection. By placing everyday functional objects at the center, these seemingly banal items become objects of reflection. The viewer’s gaze is directed toward details that often go unnoticed in the rush of everyday life, fostering a quiet, almost meditative engagement with the things of daily life. It is an invitation to rediscover the ordinary in its understated beauty and to appreciate it anew.

Vise 1973 Oil on canvas

Weights family 1973 Oil on canvas

The play with light enhances this effect by creating an atmosphere of calm and balance. The light is used purposefully to highlight the object with full precision and being, lifting the perception of things to a deeper level. This calm, balanced lighting fosters a contemplative mood, allowing the viewer to observe the depicted object with undisturbed clarity and to engage with the subtle nuances of form and structure.

The work on wood, the careful technique of glazing, and the gradual approach to the realistic analysis of the object also contribute to enhance this meditative effect.The cautious approach to the object and the gradual lightening of colors and details create an almost intimate relationship between the viewer and the depicted object—a sense of slow but sure discovery.

It is not just a visual representation but a space for introspective thoughts that invoke the object’s deeper meaning.

Working on wood ensures a smooth, even surface, which is essential for the painters’s technique of glazing. This technique involves building upd layers of transparent paint, allowing for a gradual and careful rendering of the object. Through this process, the painter is able to develop a deeper understanding of the object’s true nature, discovering its form, structure an qualities slowly and with precision. The controlled combination of light and shadow allows the object to gradually “reveal” itself, offering the viewer a sense of discovery, as if they, too, are discovering its beauty. The viewer is engaged in a silent dialogue, urging him to reconsider what is typically taken for granted.