What pivotal moments or experiences have shaped your artistic journey and development over time?

On the one hand, I came across an art book about Gottfried Helnwein in my advanced course. Not his disturbing motifs, but his beautiful and realistically painted motifs of girls awakened in me an irresistible compulsion to be able to paint in the same way. 

In steps, with many failures, I then had to learn on the way to my goal that there are no shortcuts, but that the rule of 10,000 hours always applies. This number of hours symbolizes the effort you have to put in to reach the so-called master level. These are the skills that anyone can achieve through hard work and perseverance alone, given the right physical conditions. Unfortunately, it only becomes clear whether, in addition to diligence, there is also a little genius once you have reached the master craftsman level. Because only then can you continue professionally. For me, professional means that you can repeat. Only if you can repeat can you compare. Only if you can compare can you measure, evaluate and then actively develop yourself artistically in a reasonably targeted way. And then also, that craftsmanship in itself is not an artistic achievement, but simply craftsmanship. Oh, Helnwein tries to create added value to his craftsmanship through provocation, i.e. through composition.

On the other hand, I exhibited my life-size sculptures at an art fair years ago.  So I still had space for pictures above the figures. But not large formats, so small formats. In the time after the pandemic, the 40 cm long stretcher bars I had planned were not in stock; hence the 38 cm. Since a Petersburg hanging is not permitted at art fairs, I came up with the idea of arranging them as a collage, i.e. how to show as much as possible without coming into conflict with the curator. A gallery then approached me and said that they were less interested in the individual pictures, but were very interested in the collage.

Could you elaborate on your thoughts on how techniques shape artistic expression and influence the viewer's interpretation of the composition?

In my view, technique cannot be overestimated as a starting point for any artistic work. It determines the shape of the end result from the very beginning and is, therefore, both an opportunity and a corset. I like to use the example of building a bridge. Depending on whether you commission a bricklayer, a blacksmith, a carpenter or a metalworker, you will always get a bridge, but in reality, it will always be something very different.

In his artistic development, the artist has to define himself in many ways for each new picture. Simplified, abstract or figurative (realistic or hyper-realistic). He will then decide on certain techniques, i.e. the type of painting, including the various backgrounds. Even non-painters can easily gain experience here. You use the various filters in a photo editing program. And then you realize very quickly that only a few techniques are really suitable for the intended goal. I combine the different techniques in several steps and lay the resulting layers of color on top of each other. In this way, I achieve a very special level of detail and depth of color that cannot be achieved using a single technique.

But by focusing on female beauty in a (hyper)realistic painting style, I limit the possible interpretations of my pictures. The motif can usually no longer be an object but is a subject and thus generates emotions in the mind of the viewer. For me, as the father of a daughter, the role of women in every society has always been the core message in my art. 

Your artistic journey has taken you from computer science to carpentry to painting. How do these diverse experiences inform your understanding of the relationship between technology, nature, and artistic expression?

For me, computer science is only a means to an end in order to use my craftsmanship to achieve an artistic expression that goes beyond the pure digital printing possibilities. In addition to the superimposed layers of color, I also use special texture techniques and surface structures that cannot be achieved by printing.

When integrating analog and digital techniques, how do you navigate the unique challenges and opportunities each medium presents within your creative process, and how do these interactions ultimately shape the final expression of your artistic vision?

For me, the digital possibilities are not an added artistic value in themselves. They are just tools to try out ideas in front of the canvas and exclude most things before painting. As I always work in series and then present this series as a polythychon, the painted picture in changing hangings creates an additional effect that cannot be achieved digitally. And to my chagrin, the painted picture doesn't really work in contrast to the computer design.

Could you provide more details on the conceptual and visual elements of your submitted work, c14?

The hare in art is often associated with lunar deities and symbolizes rebirth and resurrection. It also stands for fertility and sensual pleasure. The masks, in combination with the realistically elaborated girls' dresses, increase the scope for interpretation; they could stand for abuse or for the woman as an object. However, in these masked portrayals, the figures are not presented as subjects with full social agency. This contrasts with the other individual images, where such potentially negative interpretations are less prominent. In those works, colors and techniques, along with the textures, primarily shape the overall impression.

Your polyptychon installations aim to create a "movie in the mind of the viewer." How do you believe art can influence viewers' perceptions, evoke empathy and challenge perspectives?

The grouping as a polyptych now tells the whole story for me. The different groupings - arrangement and rotation - give rise to new interpretations. However, since an overall picture can never be created, the viewer can only focus on one detailed image at a time. So they can only ever perceive the overall picture in one order, i.e. via individual images

Given the dynamic shift in artistic practices spurred by the convergence of art and technology, how do you navigate the balance between embracing technological advancements and preserving the essence of human creativity in your work?

My creativity arises from the overall conception with the tools of the technique and then with the actual painting through my special working techniques

Reflecting on your body of work, is there a specific project that represents a pivotal moment in your artistic evolution? How did that experience influence the direction of your subsequent work?

From my point of view, my approach now opens up all the possibilities that can be achieved with two-dimensional images. Firstly, the individual picture, ideally enhanced by a shadow gap frame. Then, the hanging next to each other or on top of each other; arranged thematically, by color or randomly. As the picture is square, it can also be rotated. The interested party can also create their own work of art. They choose according to their taste, arrange and can also change their work of art again when hanging it appropriately. The collage creates different visual axes, which confuses or creates tension. Ideally, this creates a “film” for the viewer, as they are never able to fixate on the picture as a whole.

Art and artists play various roles in the fabric of contemporary society. How do you see artistic practices advancing sustainability and social consciousness?

I believe that my type of painting cannot have a future. It is already possible to generate images and videos of much better quality using existing digital resources. The act of artistic creation will then shift to generation via AI.

What message or call to action would you like to share with our readers?

Digital possibilities are unstoppable and offer new opportunities. What has always appealed to me about computer science is that it creates realities. Often completely different from what was foreseen. What is important is what it awakens in the mind of the viewer and hopefully with the realization that it is true or just a film.

Know more about the artist here.

Cover image

Eros by Reinhard Riedel

All images courtesy of Reinhard Riedel.