It is the great privilege of non-representational painting that the colors are liberated from defined forms of things like mountains, fields, robes, buildings and people. Instead they can freely interact without being confined to any imposed borders. I can hardly think of anything more exciting than watching colors unfold and move fluidly across the canvas as if driven by a wind or whispered on by the brush of a feather, slowly moving towards a more defined composition.
Although working with colors is mainly a visual activity, it nevertheless and strangely enough has a lot to do with listening as well. Very often I feel that I am listening to the colors, carefully trying to figure out where to go next.
I often get inspired by great pieces of music, by standing in the presence of great art, by nature and by sacred, meditative texts that I work with. These experiences can trigger a huge creative response, often like an image or imagination that forms itself in front of the inner eye as an activity of the soul and that I can see as clearly as a landscape painter would see a landscape and then feel impelled to paint it. Ever since I started painting abstractly I have worked with meditation as the lead in to the artistic process. Process itself is a vital part of my painting. Although I have a starting image or idea I leave a lot to what arises out of the process and see it as a great adventure in which unforeseen things happen and add unexpected detail to the whole story. I have mainly worked with Rudolf Steiner’s suggestions for the inner path of the artist and founded a lot of my work on Goethe’s color theory.
To this day I still greatly enjoy drawing, drawing from nature, drawing places where I travel and drawing to deepen my understanding of the being of things.
For the last ten years I have worked with oils. I love the luminosity, viscosity and at the end of the painting the thicker mediums that almost feel like an anointing. I have added earth and sand from sacred places into the painting process. Different techniques of scumbling, washes, glazes, porous surfaces with dry overlay, “floating” pigments and staccato brushstrokes, are intended to make the color sing and vibrate in numerous broken nuances of tone and leave the composition open enough for the imagination for the viewer to move through unencumbered.
...the activity of the color itself can become a place of soul experience...