Curt Walter
2010-2011 Book project, "in...boscamento", ISBN 978-88-7967-288-7Education1973-1978 Ensba, Ecole des Beaux-Arts, Sculpture class of Prof. Etienne Martin, Paris. Scholarship Canton Zurich, master student of Prof. Laszlo Szabo, Paris. Studying Chinese painting, Cernuschi Museum, Paris. 1976-1977 Study Tour to USA, Mexico, Guatemala, earthquakes survived. 1969-1970 Business school Burghof, Rapperswil, Switzerland. 1968 Anglo - Continental School of English, Bournemouth, England. 1966-1968 Apprenticeship as a chef, restaurant Urania, Zurich, Switzerland. Member: proLitteris, suissimage, swissperform. Founding member of the Art Association MonteArte and ZHart
Supervisors: visual Artist
Phone: 0041794808675
Address: Monte di sotto 3, CH-6875 Monte, Switzerland
Supervisors: visual Artist
Phone: 0041794808675
Address: Monte di sotto 3, CH-6875 Monte, Switzerland
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Through a picture-searching meditation pictures arose before my inner eye, which I drew with charcoal pencils on paper.
I do not want to go deeper into the style theory of the drawings and also not, what they mean. For me the drawings are important, they say something universal, something magical. Few numbers and letters appeared within 1200 drawings. Some of them are repeated and then images appeared that I asked for. I tried to enter the subconscious with a feeling, such as fear, to capture the images with this feeling. Drawings emerged in which fear was actually expressed.
Did the sign, the image or the drawing come before the writing?
When evaluating a work of art, I instinctively consider the quality of the contrasts. What is there and what is not there. What do I see and what do I not see? What do I hear and what do I not hear? What do I smell and what do I not smell? If I can recognize whether both are there, then I dare to classify it as a work of art.
Search for quality in art
What does it mean? The art historian Giulio Carlo Argan said about Paul Klee's theory : "...the main thread that runs through the whole of Klee's theory is the search for quality; it is the search for quality, namely the search for one's own absolute authenticity, for which man (as Kierkegaard would say) desperately longs in order to justify and perhaps save himself. But it is not enough to want this; it is to become oneself, and only through conscious and methodical action to attain a quality or value that is also the value of existence, a full consciousness that benefits every human being."
Quality for me is the ultimate product of repeatable and unique experiences; I achieved it by my consciousness descending into the depths of the unconscious to decode the secret sources of images and signs that lie dormant. Like a light at the end of the tunnel, there are images. Then I memorize in my consciousness what I have seen, down to the last detail. Once I have fixed the image, then I try to make the seen visible with a drawing. I have to fix the image in detail, because I can't go back, the image has disappeared, I see another image again, and another drawing is created. The hand wants to synthesize and materialize what I have seen with the charcoal pencil. I put the charcoal on the paper and first a dot is created, then the line. The prefiguration is connected with movement of the mind.
The full consciousness, as Klee described it, I attain through the work "Imaginations" and "Atlas of Imagination". In the full consciousness the subconscious is fully contained. A new quality has thus arisen in my creative work. This quality of absolute authenticity is an old as well as new way in my personal artistic research. For me a new theory about imagination and creativity emerged. In 1976 the credo was born: "...to realize every day an artistic idea, no matter with which material". Many works were created in which, at the beginning of the process, at the brainstorming stage - that is, at the beginning of an artistic idea - I turned my eye outside to get my ideas and inspiration there, and then reinterpreted them in my own manner. I call it "outside in and out art."
Ingres wanted to have created artistic order out of stillness; Paul Klee wanted to create order out of feeling and, going even further, out of movement. I want to create an order and quality from my personal spiritual parallel world in my subconscious, which is provided for me by the creator of imagination.
The movements of the mind and the movements of the hand
The straight and the crooked lines, vertical, horizontal and rhythmized in different variations, become metamorphoses or lose themselves in nothingness. The interrupted lines, whether crooked or straight, make me awake, and when they correspond, they lead to a harmonious sense of form. The movements of the hand with the charcoal pencil are rolling like those of a wheel or they are like waves or water. The growth of a line of Q ends in springs - movements. The angular, crystal - movements, like K, end in an object. Symmetrical forms are created, which turn into metamorphoses. Some drawings are also reflections, or become asymmetrical symmetries. Round - angular shapes, whether symmetrical or asymmetrical, complement each other on the right and on the left. Many characteristics emerge from the circle. They are roundish, pointed, in rotation, and variants of round into angular and vice versa. Some spirals contract and others are liberating to the outside. Some of the lemniscates are soothing and calming to my mind. They are symmetrical, roundish, pointed, asymmetrical, up and down, closed or open. The mathematical gray point between the dimensions, which is neither black nor white, not hot nor cold, also has no top and no bottom. The point as original element is cosmic. Every island is cosmic. The point as the intersection of paths is cosmic.
Opposite - Contradictions
Concepts without their opposite is not conceivable. Terms stand separately from their opposite. Concepts are only effective with its opposite. Opposite concepts like chaos - cosmos, disorder - order are concept pairs. What means "black" if there is no "white"? What means "light" if there is no "shadow"? What does "yin" mean if there is no "yang"? In every concept there is its opposite, as in the Taj Gi (light and dark, female and male). In most drawings, there is an opposite. I call it "the presence of absence." By this I mean that an idea from the inner eye, manifests itself on the paper with the drawing pencil. A sign has been created, but something is missing, as when the object is not yet finished drawing.
Example
What is this figure carrying and what is behind and under it? Is someone carrying it? What has not yet been drawn here? What has been left out?
The absence!
The present is the top of a figure with hat, which carries something. Here the contrasts are inserted, which make up the whole work of art.
Laotse means to it: What is serves the possession, what is not serves the work. This contrast serves the quality of the work of art.
The gestures and the images in the inner eye radiate serenity as well as sadness in a certain way. There are images with solemn, filigree lines like hair, linked into a large pattern or ornament, in a poietic alizarin crimson red, on a dark background in anthracite.
To draw this image, and then to put it on paper with a thick charcoal pencil, and then to paint it in oil, I found very difficult. I could at least hint at the pattern I saw. One could try it digitally. Whereas, again, it would be difficult to paint the digital image in oil. This drawing is more of a sketch for a sculpture. Oversized and chunky. But actually it has been seen from fine thin lines.
Some images are reminiscent of speech marks from different cultures. Whereas these images are symbols that make sense.
For example, in this drawing, there are similarities with characters from the Native American Kekinomin or cultures from Central America.
It means "symbol of the power to see into the future". The script is called Kekiwin.
Source: "Book of Scripture", characters and alphabets of all times and all peoples of the world by Carl Faulmann. © 1985 by GRANO Verlagsgesellschaft mbH, D-8860 Nördlingen.
The charcoal
The charcoal pencil has a long history. Wikipedia says: "Charred wood has been used to draw since prehistoric times, as evidenced by many cave drawings. Until the Middle Ages, however, it was more of a tool, such as for preliminary drawings or for practice. It was only with the higher estimation of hand drawing in general and development of suitable fixing methods from the 15th century on that works were created in this technique that were the final goal and not a preliminary stage." And it goes on to say, "...the fossil evidence for fire comes mainly from charcoal. The earliest charcoal dates to the Silurian period. Charcoal is formed from organic material exposed to high temperatures, which expels volatile elements and leaves carbon residues. Charcoal is different from coal, which is the fossilized remains of living plants that burn and leave soot."
I use charcoal to create strong textured tonal gradations.
Since charcoal is easily smudged, smooth transitions and shading are possible. Corrections can be made easily. However, they cannot make the colors visible, nor can they make the intricate lines. Charcoal is a medium that has been used to express emotionally since human history. Because it has these qualities, I feel the connection to this story with every dot or stroke.
Through a picture-searching meditation pictures arose before my inner eye, which I drew with charcoal pencils on paper.
I do not want to go deeper into the style theory of the drawings and also not, what they mean. For me the drawings are important, they say something universal, something magical. Few numbers and letters appeared within 1200 drawings. Some of them are repeated and then images appeared that I asked for. I tried to enter the subconscious with a feeling, such as fear, to capture the images with this feeling. Drawings emerged in which fear was actually expressed.
Did the sign, the image or the drawing come before the writing?
When evaluating a work of art, I instinctively consider the quality of the contrasts. What is there and what is not there. What do I see and what do I not see? What do I hear and what do I not hear? What do I smell and what do I not smell? If I can recognize whether both are there, then I dare to classify it as a work of art.
Search for quality in art
What does it mean? The art historian Giulio Carlo Argan said about Paul Klee's theory : "...the main thread that runs through the whole of Klee's theory is the search for quality; it is the search for quality, namely the search for one's own absolute authenticity, for which man (as Kierkegaard would say) desperately longs in order to justify and perhaps save himself. But it is not enough to want this; it is to become oneself, and only through conscious and methodical action to attain a quality or value that is also the value of existence, a full consciousness that benefits every human being."
Quality for me is the ultimate product of repeatable and unique experiences; I achieved it by my consciousness descending into the depths of the unconscious to decode the secret sources of images and signs that lie dormant. Like a light at the end of the tunnel, there are images. Then I memorize in my consciousness what I have seen, down to the last detail. Once I have fixed the image, then I try to make the seen visible with a drawing. I have to fix the image in detail, because I can't go back, the image has disappeared, I see another image again, and another drawing is created. The hand wants to synthesize and materialize what I have seen with the charcoal pencil. I put the charcoal on the paper and first a dot is created, then the line. The prefiguration is connected with movement of the mind.
The full consciousness, as Klee described it, I attain through the work "Imaginations" and "Atlas of Imagination". In the full consciousness the subconscious is fully contained. A new quality has thus arisen in my creative work. This quality of absolute authenticity is an old as well as new way in my personal artistic research. For me a new theory about imagination and creativity emerged. In 1976 the credo was born: "...to realize every day an artistic idea, no matter with which material". Many works were created in which, at the beginning of the process, at the brainstorming stage - that is, at the beginning of an artistic idea - I turned my eye outside to get my ideas and inspiration there, and then reinterpreted them in my own manner. I call it "outside in and out art."
Ingres wanted to have created artistic order out of stillness; Paul Klee wanted to create order out of feeling and, going even further, out of movement. I want to create an order and quality from my personal spiritual parallel world in my subconscious, which is provided for me by the creator of imagination.
The movements of the mind and the movements of the hand
The straight and the crooked lines, vertical, horizontal and rhythmized in different variations, become metamorphoses or lose themselves in nothingness. The interrupted lines, whether crooked or straight, make me awake, and when they correspond, they lead to a harmonious sense of form. The movements of the hand with the charcoal pencil are rolling like those of a wheel or they are like waves or water. The growth of a line of Q ends in springs - movements. The angular, crystal - movements, like K, end in an object. Symmetrical forms are created, which turn into metamorphoses. Some drawings are also reflections, or become asymmetrical symmetries. Round - angular shapes, whether symmetrical or asymmetrical, complement each other on the right and on the left. Many characteristics emerge from the circle. They are roundish, pointed, in rotation, and variants of round into angular and vice versa. Some spirals contract and others are liberating to the outside. Some of the lemniscates are soothing and calming to my mind. They are symmetrical, roundish, pointed, asymmetrical, up and down, closed or open. The mathematical gray point between the dimensions, which is neither black nor white, not hot nor cold, also has no top and no bottom. The point as original element is cosmic. Every island is cosmic. The point as the intersection of paths is cosmic.
Opposite - Contradictions
Concepts without their opposite is not conceivable. Terms stand separately from their opposite. Concepts are only effective with its opposite. Opposite concepts like chaos - cosmos, disorder - order are concept pairs. What means "black" if there is no "white"? What means "light" if there is no "shadow"? What does "yin" mean if there is no "yang"? In every concept there is its opposite, as in the Taj Gi (light and dark, female and male). In most drawings, there is an opposite. I call it "the presence of absence." By this I mean that an idea from the inner eye, manifests itself on the paper with the drawing pencil. A sign has been created, but something is missing, as when the object is not yet finished drawing.
Example
What is this figure carrying and what is behind and under it? Is someone carrying it? What has not yet been drawn here? What has been left out?
The absence!
The present is the top of a figure with hat, which carries something. Here the contrasts are inserted, which make up the whole work of art.
Laotse means to it: What is serves the possession, what is not serves the work. This contrast serves the quality of the work of art.
The gestures and the images in the inner eye radiate serenity as well as sadness in a certain way. There are images with solemn, filigree lines like hair, linked into a large pattern or ornament, in a poietic alizarin crimson red, on a dark background in anthracite.
To draw this image, and then to put it on paper with a thick charcoal pencil, and then to paint it in oil, I found very difficult. I could at least hint at the pattern I saw. One could try it digitally. Whereas, again, it would be difficult to paint the digital image in oil. This drawing is more of a sketch for a sculpture. Oversized and chunky. But actually it has been seen from fine thin lines.
Some images are reminiscent of speech marks from different cultures. Whereas these images are symbols that make sense.
For example, in this drawing, there are similarities with characters from the Native American Kekinomin or cultures from Central America.
It means "symbol of the power to see into the future". The script is called Kekiwin.
Source: "Book of Scripture", characters and alphabets of all times and all peoples of the world by Carl Faulmann. © 1985 by GRANO Verlagsgesellschaft mbH, D-8860 Nördlingen.
The charcoal
The charcoal pencil has a long history. Wikipedia says: "Charred wood has been used to draw since prehistoric times, as evidenced by many cave drawings. Until the Middle Ages, however, it was more of a tool, such as for preliminary drawings or for practice. It was only with the higher estimation of hand drawing in general and development of suitable fixing methods from the 15th century on that works were created in this technique that were the final goal and not a preliminary stage." And it goes on to say, "...the fossil evidence for fire comes mainly from charcoal. The earliest charcoal dates to the Silurian period. Charcoal is formed from organic material exposed to high temperatures, which expels volatile elements and leaves carbon residues. Charcoal is different from coal, which is the fossilized remains of living plants that burn and leave soot."
I use charcoal to create strong textured tonal gradations.
Since charcoal is easily smudged, smooth transitions and shading are possible. Corrections can be made easily. However, they cannot make the colors visible, nor can they make the intricate lines. Charcoal is a medium that has been used to express emotionally since human history. Because it has these qualities, I feel the connection to this story with every dot or stroke.
life?" I counted the sticks and received the following information: The well, hexagram no. 48. The oracle texts and the corresponding pictures provided me with the inspiration for a painting. It was the picture of a well. It is the water of life, a central source which, if it carries clean water, enables fertility all around. For me as an artist, inspiration, fantasy and imagination are the "water of life". The oracle also told me which colours and pigments to use. These are Vermillion 2 and black. I added blue and turquoise, as well as scarlet and others. With temperone and pigments I set to work. Using compressed air, I sprayed the pigments mixed with Temperone 3 into drops on the picture support, as if they were falling into a well. At the bottom the darker tones (created winter, spring 2020 to 2022) and at the top the red drops (created summer, autumn 2020 to 2022). Little by little I filled up the drops with hieroglyphs, which I had gained from the previous meditations. I started in January 2020 on the right side of the image carrier in the blue area and worked my way clockwise to the middle until spring 2022. In the blue area are the images of autumn and winter 2021 and 2022, and in the red area are the images of spring and summer 2021 and 2022.
In detail I used Parisian blue, dark chrome yellow, Italian gold ochre, Milovi blue, cadmium yellow no. 1 Citron, Cobalt Cölin blue, Cobalt blue Turquoise light, Permanent yellow light / Permanent yellow light, Opal red warm / Opal red warm, Alizarin Crimson, Permanent red / Permanent red, Hostsperm Pink Transparent , Scharlach / Scarlet fever, Lapis Lazuli Himmelblau / Lapis lazuli sky blue, Beinschwarz / Leg black, Zinkweiss Kremer / Zinc white, Nepalgelb dunkel (Thalens) / Nepal yellow dark, Zinnoberrot Pebeo / Vermilion, Krappdunkel (Schminke) / Madder dark, Echtrot tief (Mussini) / Real red deep, Ivoorzwart extra (old Holland Classic) Turquoise Ozo Pigments. The painting materials are Swedish linseed oil, temperone, larch resin. The painting was executed in an old-masterly technique, which Tiziano and other artists used from the Middle Ages to the early modern period.
Atlas of the Imagination
Through a picture-seeking meditation, images arose in my inner eye, which I drew on paper with charcoal pencils. These drawn images were then painted in oil on a primed picture support. In this
way a picture was created consisting of many imaginations. In detail, there are about 1200 painted hieroglyphs. Some drawings are sculptural, others only hints of incomplete forms. With what is, what is not is specified. It is as if the presence wants to say, here is also the absence, that which is not seen. The absent is not visible, but one can imagine the absent.
Motivation
After 73 years of artistic research, I have gained a new insight, one could almost say I have experienced an "enlightenment". "Realise an artistic idea every day, no matter what the material and medium" has been the guiding principle for my artistic practice since 1976. Thousands of works have been created in the meantime. The pandemic now prompted me to look inside myself and turn what I saw there outwards. I explored my subconscious. The inner eye brought what I had seen out into the open. The creative force within me produced a mysterious sign language from a parallel world that lay dormant in my subconscious. A new term was born from this work: "inside out art" as opposed to "outside in and out art".
life?" I counted the sticks and received the following information: The well, hexagram no. 48. The oracle texts and the corresponding pictures provided me with the inspiration for a painting. It was the picture of a well. It is the water of life, a central source which, if it carries clean water, enables fertility all around. For me as an artist, inspiration, fantasy and imagination are the "water of life". The oracle also told me which colours and pigments to use. These are Vermillion 2 and black. I added blue and turquoise, as well as scarlet and others. With temperone and pigments I set to work. Using compressed air, I sprayed the pigments mixed with Temperone 3 into drops on the picture support, as if they were falling into a well. At the bottom the darker tones (created winter, spring 2020 to 2022) and at the top the red drops (created summer, autumn 2020 to 2022). Little by little I filled up the drops with hieroglyphs, which I had gained from the previous meditations. I started in January 2020 on the right side of the image carrier in the blue area and worked my way clockwise to the middle until spring 2022. In the blue area are the images of autumn and winter 2021 and 2022, and in the red area are the images of spring and summer 2021 and 2022.
In detail I used Parisian blue, dark chrome yellow, Italian gold ochre, Milovi blue, cadmium yellow no. 1 Citron, Cobalt Cölin blue, Cobalt blue Turquoise light, Permanent yellow light / Permanent yellow light, Opal red warm / Opal red warm, Alizarin Crimson, Permanent red / Permanent red, Hostsperm Pink Transparent , Scharlach / Scarlet fever, Lapis Lazuli Himmelblau / Lapis lazuli sky blue, Beinschwarz / Leg black, Zinkweiss Kremer / Zinc white, Nepalgelb dunkel (Thalens) / Nepal yellow dark, Zinnoberrot Pebeo / Vermilion, Krappdunkel (Schminke) / Madder dark, Echtrot tief (Mussini) / Real red deep, Ivoorzwart extra (old Holland Classic) Turquoise Ozo Pigments. The painting materials are Swedish linseed oil, temperone, larch resin. The painting was executed in an old-masterly technique, which Tiziano and other artists used from the Middle Ages to the early modern period.
Atlas of the Imagination
Through a picture-seeking meditation, images arose in my inner eye, which I drew on paper with charcoal pencils. These drawn images were then painted in oil on a primed picture support. In this
way a picture was created consisting of many imaginations. In detail, there are about 1200 painted hieroglyphs. Some drawings are sculptural, others only hints of incomplete forms. With what is, what is not is specified. It is as if the presence wants to say, here is also the absence, that which is not seen. The absent is not visible, but one can imagine the absent.
Motivation
After 73 years of artistic research, I have gained a new insight, one could almost say I have experienced an "enlightenment". "Realise an artistic idea every day, no matter what the material and medium" has been the guiding principle for my artistic practice since 1976. Thousands of works have been created in the meantime. The pandemic now prompted me to look inside myself and turn what I saw there outwards. I explored my subconscious. The inner eye brought what I had seen out into the open. The creative force within me produced a mysterious sign language from a parallel world that lay dormant in my subconscious. A new term was born from this work: "inside out art" as opposed to "outside in and out art".
With "Inside out Art" I learn more about my self and about the creative parallel world within me, which I can only reach with the help of a personal meditation. "Outside in and out Art" for me is seeing from the eye, from the retina outside, seeing things and drawing them, it is copying the outside world. It is also the perceived outside, mixed with one's own state of mind, transformed into personal reflections and interpretations.
in an installation.
Playing dead or playing possum, is a behavior, a
defense mechanism*, in which an animal pretends
being dead. This deception is an adaptive behavior
also known as tonic immobility or thanatosis.
in an installation. 6’000 closed eyes, 3’ooo terracotta faces lost in introspection - no longer attacked, released.
Wanted: Arts funding, collector for a unique work
"Cibo - Come sarà la mia Ultima Cena ?"
La manifestione aperta al pubblico per 9 giorni di seguito sarà animata di vari eventi collaterali in tema:
- Sabato 24 maggio - dalle ore 17.00 apertura mostra e vernissage / performance
- Domenica 25 maggio - ore 18.00 Spettacolo cabaret "Agrodolce" con Claudio Batta, noto comico di Zelig
- Mercoledì 28 maggio - ore 21.00 cinema in piazza - film a tema
- Domenica 01 giugno - dalle 11.00 alle 15.00 finissage, mercato in tema, workshop e altri sorprese in piazza
- Tutti i giorni dalle 14.00 alle 20.00 (esclusi 24 maggio e 01 giugno - vedi sopra)
In allegato troverete il programma completo.
Vi aspettiamo numerosi a Monte !
Il comitato MonteArte
Contatto
Vice-presidente:
Irene Petraglio: +41 (0)76 329 16 54
Progetto, ideazione e organizzazione:
Harald Mol: +41 (0)79 621 21 83 / Curt Walter: +41 (0)79 480 86 75
Come punto di ristoro a Monte consigliamo L'Osteria Montanara tel. 091 684 14 79
Illuminazioni | proiezioni di 45 immagini sulle facciate delle case
e dei monumenti del paese, oscurato per l’occasione durante
tutto il periodo “Ultima cena?” è suddivisa in due parti
part #1 | Illuminazioni, 2012 || part #2 | Installazioni, primavera 2013
An der Schnittstelle von Chemie und Krankheit. Die Gesetze der Energie.
Through a picture-searching meditation pictures arose before my inner eye, which I drew with charcoal pencils on paper.
I do not want to go deeper into the style theory of the drawings and also not, what they mean. For me the drawings are important, they say something universal, something magical. Few numbers and letters appeared within 1200 drawings. Some of them are repeated and then images appeared that I asked for. I tried to enter the subconscious with a feeling, such as fear, to capture the images with this feeling. Drawings emerged in which fear was actually expressed.
Did the sign, the image or the drawing come before the writing?
When evaluating a work of art, I instinctively consider the quality of the contrasts. What is there and what is not there. What do I see and what do I not see? What do I hear and what do I not hear? What do I smell and what do I not smell? If I can recognize whether both are there, then I dare to classify it as a work of art.
Search for quality in art
What does it mean? The art historian Giulio Carlo Argan said about Paul Klee's theory : "...the main thread that runs through the whole of Klee's theory is the search for quality; it is the search for quality, namely the search for one's own absolute authenticity, for which man (as Kierkegaard would say) desperately longs in order to justify and perhaps save himself. But it is not enough to want this; it is to become oneself, and only through conscious and methodical action to attain a quality or value that is also the value of existence, a full consciousness that benefits every human being."
Quality for me is the ultimate product of repeatable and unique experiences; I achieved it by my consciousness descending into the depths of the unconscious to decode the secret sources of images and signs that lie dormant. Like a light at the end of the tunnel, there are images. Then I memorize in my consciousness what I have seen, down to the last detail. Once I have fixed the image, then I try to make the seen visible with a drawing. I have to fix the image in detail, because I can't go back, the image has disappeared, I see another image again, and another drawing is created. The hand wants to synthesize and materialize what I have seen with the charcoal pencil. I put the charcoal on the paper and first a dot is created, then the line. The prefiguration is connected with movement of the mind.
The full consciousness, as Klee described it, I attain through the work "Imaginations" and "Atlas of Imagination". In the full consciousness the subconscious is fully contained. A new quality has thus arisen in my creative work. This quality of absolute authenticity is an old as well as new way in my personal artistic research. For me a new theory about imagination and creativity emerged. In 1976 the credo was born: "...to realize every day an artistic idea, no matter with which material". Many works were created in which, at the beginning of the process, at the brainstorming stage - that is, at the beginning of an artistic idea - I turned my eye outside to get my ideas and inspiration there, and then reinterpreted them in my own manner. I call it "outside in and out art."
Ingres wanted to have created artistic order out of stillness; Paul Klee wanted to create order out of feeling and, going even further, out of movement. I want to create an order and quality from my personal spiritual parallel world in my subconscious, which is provided for me by the creator of imagination.
The movements of the mind and the movements of the hand
The straight and the crooked lines, vertical, horizontal and rhythmized in different variations, become metamorphoses or lose themselves in nothingness. The interrupted lines, whether crooked or straight, make me awake, and when they correspond, they lead to a harmonious sense of form. The movements of the hand with the charcoal pencil are rolling like those of a wheel or they are like waves or water. The growth of a line of Q ends in springs - movements. The angular, crystal - movements, like K, end in an object. Symmetrical forms are created, which turn into metamorphoses. Some drawings are also reflections, or become asymmetrical symmetries. Round - angular shapes, whether symmetrical or asymmetrical, complement each other on the right and on the left. Many characteristics emerge from the circle. They are roundish, pointed, in rotation, and variants of round into angular and vice versa. Some spirals contract and others are liberating to the outside. Some of the lemniscates are soothing and calming to my mind. They are symmetrical, roundish, pointed, asymmetrical, up and down, closed or open. The mathematical gray point between the dimensions, which is neither black nor white, not hot nor cold, also has no top and no bottom. The point as original element is cosmic. Every island is cosmic. The point as the intersection of paths is cosmic.
Opposite - Contradictions
Concepts without their opposite is not conceivable. Terms stand separately from their opposite. Concepts are only effective with its opposite. Opposite concepts like chaos - cosmos, disorder - order are concept pairs. What means "black" if there is no "white"? What means "light" if there is no "shadow"? What does "yin" mean if there is no "yang"? In every concept there is its opposite, as in the Taj Gi (light and dark, female and male). In most drawings, there is an opposite. I call it "the presence of absence." By this I mean that an idea from the inner eye, manifests itself on the paper with the drawing pencil. A sign has been created, but something is missing, as when the object is not yet finished drawing.
Example
What is this figure carrying and what is behind and under it? Is someone carrying it? What has not yet been drawn here? What has been left out?
The absence!
The present is the top of a figure with hat, which carries something. Here the contrasts are inserted, which make up the whole work of art.
Laotse means to it: What is serves the possession, what is not serves the work. This contrast serves the quality of the work of art.
The gestures and the images in the inner eye radiate serenity as well as sadness in a certain way. There are images with solemn, filigree lines like hair, linked into a large pattern or ornament, in a poietic alizarin crimson red, on a dark background in anthracite.
To draw this image, and then to put it on paper with a thick charcoal pencil, and then to paint it in oil, I found very difficult. I could at least hint at the pattern I saw. One could try it digitally. Whereas, again, it would be difficult to paint the digital image in oil. This drawing is more of a sketch for a sculpture. Oversized and chunky. But actually it has been seen from fine thin lines.
Some images are reminiscent of speech marks from different cultures. Whereas these images are symbols that make sense.
For example, in this drawing, there are similarities with characters from the Native American Kekinomin or cultures from Central America.
It means "symbol of the power to see into the future". The script is called Kekiwin.
Source: "Book of Scripture", characters and alphabets of all times and all peoples of the world by Carl Faulmann. © 1985 by GRANO Verlagsgesellschaft mbH, D-8860 Nördlingen.
The charcoal
The charcoal pencil has a long history. Wikipedia says: "Charred wood has been used to draw since prehistoric times, as evidenced by many cave drawings. Until the Middle Ages, however, it was more of a tool, such as for preliminary drawings or for practice. It was only with the higher estimation of hand drawing in general and development of suitable fixing methods from the 15th century on that works were created in this technique that were the final goal and not a preliminary stage." And it goes on to say, "...the fossil evidence for fire comes mainly from charcoal. The earliest charcoal dates to the Silurian period. Charcoal is formed from organic material exposed to high temperatures, which expels volatile elements and leaves carbon residues. Charcoal is different from coal, which is the fossilized remains of living plants that burn and leave soot."
I use charcoal to create strong textured tonal gradations.
Since charcoal is easily smudged, smooth transitions and shading are possible. Corrections can be made easily. However, they cannot make the colors visible, nor can they make the intricate lines. Charcoal is a medium that has been used to express emotionally since human history. Because it has these qualities, I feel the connection to this story with every dot or stroke.
Through a picture-searching meditation pictures arose before my inner eye, which I drew with charcoal pencils on paper.
I do not want to go deeper into the style theory of the drawings and also not, what they mean. For me the drawings are important, they say something universal, something magical. Few numbers and letters appeared within 1200 drawings. Some of them are repeated and then images appeared that I asked for. I tried to enter the subconscious with a feeling, such as fear, to capture the images with this feeling. Drawings emerged in which fear was actually expressed.
Did the sign, the image or the drawing come before the writing?
When evaluating a work of art, I instinctively consider the quality of the contrasts. What is there and what is not there. What do I see and what do I not see? What do I hear and what do I not hear? What do I smell and what do I not smell? If I can recognize whether both are there, then I dare to classify it as a work of art.
Search for quality in art
What does it mean? The art historian Giulio Carlo Argan said about Paul Klee's theory : "...the main thread that runs through the whole of Klee's theory is the search for quality; it is the search for quality, namely the search for one's own absolute authenticity, for which man (as Kierkegaard would say) desperately longs in order to justify and perhaps save himself. But it is not enough to want this; it is to become oneself, and only through conscious and methodical action to attain a quality or value that is also the value of existence, a full consciousness that benefits every human being."
Quality for me is the ultimate product of repeatable and unique experiences; I achieved it by my consciousness descending into the depths of the unconscious to decode the secret sources of images and signs that lie dormant. Like a light at the end of the tunnel, there are images. Then I memorize in my consciousness what I have seen, down to the last detail. Once I have fixed the image, then I try to make the seen visible with a drawing. I have to fix the image in detail, because I can't go back, the image has disappeared, I see another image again, and another drawing is created. The hand wants to synthesize and materialize what I have seen with the charcoal pencil. I put the charcoal on the paper and first a dot is created, then the line. The prefiguration is connected with movement of the mind.
The full consciousness, as Klee described it, I attain through the work "Imaginations" and "Atlas of Imagination". In the full consciousness the subconscious is fully contained. A new quality has thus arisen in my creative work. This quality of absolute authenticity is an old as well as new way in my personal artistic research. For me a new theory about imagination and creativity emerged. In 1976 the credo was born: "...to realize every day an artistic idea, no matter with which material". Many works were created in which, at the beginning of the process, at the brainstorming stage - that is, at the beginning of an artistic idea - I turned my eye outside to get my ideas and inspiration there, and then reinterpreted them in my own manner. I call it "outside in and out art."
Ingres wanted to have created artistic order out of stillness; Paul Klee wanted to create order out of feeling and, going even further, out of movement. I want to create an order and quality from my personal spiritual parallel world in my subconscious, which is provided for me by the creator of imagination.
The movements of the mind and the movements of the hand
The straight and the crooked lines, vertical, horizontal and rhythmized in different variations, become metamorphoses or lose themselves in nothingness. The interrupted lines, whether crooked or straight, make me awake, and when they correspond, they lead to a harmonious sense of form. The movements of the hand with the charcoal pencil are rolling like those of a wheel or they are like waves or water. The growth of a line of Q ends in springs - movements. The angular, crystal - movements, like K, end in an object. Symmetrical forms are created, which turn into metamorphoses. Some drawings are also reflections, or become asymmetrical symmetries. Round - angular shapes, whether symmetrical or asymmetrical, complement each other on the right and on the left. Many characteristics emerge from the circle. They are roundish, pointed, in rotation, and variants of round into angular and vice versa. Some spirals contract and others are liberating to the outside. Some of the lemniscates are soothing and calming to my mind. They are symmetrical, roundish, pointed, asymmetrical, up and down, closed or open. The mathematical gray point between the dimensions, which is neither black nor white, not hot nor cold, also has no top and no bottom. The point as original element is cosmic. Every island is cosmic. The point as the intersection of paths is cosmic.
Opposite - Contradictions
Concepts without their opposite is not conceivable. Terms stand separately from their opposite. Concepts are only effective with its opposite. Opposite concepts like chaos - cosmos, disorder - order are concept pairs. What means "black" if there is no "white"? What means "light" if there is no "shadow"? What does "yin" mean if there is no "yang"? In every concept there is its opposite, as in the Taj Gi (light and dark, female and male). In most drawings, there is an opposite. I call it "the presence of absence." By this I mean that an idea from the inner eye, manifests itself on the paper with the drawing pencil. A sign has been created, but something is missing, as when the object is not yet finished drawing.
Example
What is this figure carrying and what is behind and under it? Is someone carrying it? What has not yet been drawn here? What has been left out?
The absence!
The present is the top of a figure with hat, which carries something. Here the contrasts are inserted, which make up the whole work of art.
Laotse means to it: What is serves the possession, what is not serves the work. This contrast serves the quality of the work of art.
The gestures and the images in the inner eye radiate serenity as well as sadness in a certain way. There are images with solemn, filigree lines like hair, linked into a large pattern or ornament, in a poietic alizarin crimson red, on a dark background in anthracite.
To draw this image, and then to put it on paper with a thick charcoal pencil, and then to paint it in oil, I found very difficult. I could at least hint at the pattern I saw. One could try it digitally. Whereas, again, it would be difficult to paint the digital image in oil. This drawing is more of a sketch for a sculpture. Oversized and chunky. But actually it has been seen from fine thin lines.
Some images are reminiscent of speech marks from different cultures. Whereas these images are symbols that make sense.
For example, in this drawing, there are similarities with characters from the Native American Kekinomin or cultures from Central America.
It means "symbol of the power to see into the future". The script is called Kekiwin.
Source: "Book of Scripture", characters and alphabets of all times and all peoples of the world by Carl Faulmann. © 1985 by GRANO Verlagsgesellschaft mbH, D-8860 Nördlingen.
The charcoal
The charcoal pencil has a long history. Wikipedia says: "Charred wood has been used to draw since prehistoric times, as evidenced by many cave drawings. Until the Middle Ages, however, it was more of a tool, such as for preliminary drawings or for practice. It was only with the higher estimation of hand drawing in general and development of suitable fixing methods from the 15th century on that works were created in this technique that were the final goal and not a preliminary stage." And it goes on to say, "...the fossil evidence for fire comes mainly from charcoal. The earliest charcoal dates to the Silurian period. Charcoal is formed from organic material exposed to high temperatures, which expels volatile elements and leaves carbon residues. Charcoal is different from coal, which is the fossilized remains of living plants that burn and leave soot."
I use charcoal to create strong textured tonal gradations.
Since charcoal is easily smudged, smooth transitions and shading are possible. Corrections can be made easily. However, they cannot make the colors visible, nor can they make the intricate lines. Charcoal is a medium that has been used to express emotionally since human history. Because it has these qualities, I feel the connection to this story with every dot or stroke.
life?" I counted the sticks and received the following information: The well, hexagram no. 48. The oracle texts and the corresponding pictures provided me with the inspiration for a painting. It was the picture of a well. It is the water of life, a central source which, if it carries clean water, enables fertility all around. For me as an artist, inspiration, fantasy and imagination are the "water of life". The oracle also told me which colours and pigments to use. These are Vermillion 2 and black. I added blue and turquoise, as well as scarlet and others. With temperone and pigments I set to work. Using compressed air, I sprayed the pigments mixed with Temperone 3 into drops on the picture support, as if they were falling into a well. At the bottom the darker tones (created winter, spring 2020 to 2022) and at the top the red drops (created summer, autumn 2020 to 2022). Little by little I filled up the drops with hieroglyphs, which I had gained from the previous meditations. I started in January 2020 on the right side of the image carrier in the blue area and worked my way clockwise to the middle until spring 2022. In the blue area are the images of autumn and winter 2021 and 2022, and in the red area are the images of spring and summer 2021 and 2022.
In detail I used Parisian blue, dark chrome yellow, Italian gold ochre, Milovi blue, cadmium yellow no. 1 Citron, Cobalt Cölin blue, Cobalt blue Turquoise light, Permanent yellow light / Permanent yellow light, Opal red warm / Opal red warm, Alizarin Crimson, Permanent red / Permanent red, Hostsperm Pink Transparent , Scharlach / Scarlet fever, Lapis Lazuli Himmelblau / Lapis lazuli sky blue, Beinschwarz / Leg black, Zinkweiss Kremer / Zinc white, Nepalgelb dunkel (Thalens) / Nepal yellow dark, Zinnoberrot Pebeo / Vermilion, Krappdunkel (Schminke) / Madder dark, Echtrot tief (Mussini) / Real red deep, Ivoorzwart extra (old Holland Classic) Turquoise Ozo Pigments. The painting materials are Swedish linseed oil, temperone, larch resin. The painting was executed in an old-masterly technique, which Tiziano and other artists used from the Middle Ages to the early modern period.
Atlas of the Imagination
Through a picture-seeking meditation, images arose in my inner eye, which I drew on paper with charcoal pencils. These drawn images were then painted in oil on a primed picture support. In this
way a picture was created consisting of many imaginations. In detail, there are about 1200 painted hieroglyphs. Some drawings are sculptural, others only hints of incomplete forms. With what is, what is not is specified. It is as if the presence wants to say, here is also the absence, that which is not seen. The absent is not visible, but one can imagine the absent.
Motivation
After 73 years of artistic research, I have gained a new insight, one could almost say I have experienced an "enlightenment". "Realise an artistic idea every day, no matter what the material and medium" has been the guiding principle for my artistic practice since 1976. Thousands of works have been created in the meantime. The pandemic now prompted me to look inside myself and turn what I saw there outwards. I explored my subconscious. The inner eye brought what I had seen out into the open. The creative force within me produced a mysterious sign language from a parallel world that lay dormant in my subconscious. A new term was born from this work: "inside out art" as opposed to "outside in and out art".
life?" I counted the sticks and received the following information: The well, hexagram no. 48. The oracle texts and the corresponding pictures provided me with the inspiration for a painting. It was the picture of a well. It is the water of life, a central source which, if it carries clean water, enables fertility all around. For me as an artist, inspiration, fantasy and imagination are the "water of life". The oracle also told me which colours and pigments to use. These are Vermillion 2 and black. I added blue and turquoise, as well as scarlet and others. With temperone and pigments I set to work. Using compressed air, I sprayed the pigments mixed with Temperone 3 into drops on the picture support, as if they were falling into a well. At the bottom the darker tones (created winter, spring 2020 to 2022) and at the top the red drops (created summer, autumn 2020 to 2022). Little by little I filled up the drops with hieroglyphs, which I had gained from the previous meditations. I started in January 2020 on the right side of the image carrier in the blue area and worked my way clockwise to the middle until spring 2022. In the blue area are the images of autumn and winter 2021 and 2022, and in the red area are the images of spring and summer 2021 and 2022.
In detail I used Parisian blue, dark chrome yellow, Italian gold ochre, Milovi blue, cadmium yellow no. 1 Citron, Cobalt Cölin blue, Cobalt blue Turquoise light, Permanent yellow light / Permanent yellow light, Opal red warm / Opal red warm, Alizarin Crimson, Permanent red / Permanent red, Hostsperm Pink Transparent , Scharlach / Scarlet fever, Lapis Lazuli Himmelblau / Lapis lazuli sky blue, Beinschwarz / Leg black, Zinkweiss Kremer / Zinc white, Nepalgelb dunkel (Thalens) / Nepal yellow dark, Zinnoberrot Pebeo / Vermilion, Krappdunkel (Schminke) / Madder dark, Echtrot tief (Mussini) / Real red deep, Ivoorzwart extra (old Holland Classic) Turquoise Ozo Pigments. The painting materials are Swedish linseed oil, temperone, larch resin. The painting was executed in an old-masterly technique, which Tiziano and other artists used from the Middle Ages to the early modern period.
Atlas of the Imagination
Through a picture-seeking meditation, images arose in my inner eye, which I drew on paper with charcoal pencils. These drawn images were then painted in oil on a primed picture support. In this
way a picture was created consisting of many imaginations. In detail, there are about 1200 painted hieroglyphs. Some drawings are sculptural, others only hints of incomplete forms. With what is, what is not is specified. It is as if the presence wants to say, here is also the absence, that which is not seen. The absent is not visible, but one can imagine the absent.
Motivation
After 73 years of artistic research, I have gained a new insight, one could almost say I have experienced an "enlightenment". "Realise an artistic idea every day, no matter what the material and medium" has been the guiding principle for my artistic practice since 1976. Thousands of works have been created in the meantime. The pandemic now prompted me to look inside myself and turn what I saw there outwards. I explored my subconscious. The inner eye brought what I had seen out into the open. The creative force within me produced a mysterious sign language from a parallel world that lay dormant in my subconscious. A new term was born from this work: "inside out art" as opposed to "outside in and out art".
With "Inside out Art" I learn more about my self and about the creative parallel world within me, which I can only reach with the help of a personal meditation. "Outside in and out Art" for me is seeing from the eye, from the retina outside, seeing things and drawing them, it is copying the outside world. It is also the perceived outside, mixed with one's own state of mind, transformed into personal reflections and interpretations.
in an installation.
Playing dead or playing possum, is a behavior, a
defense mechanism*, in which an animal pretends
being dead. This deception is an adaptive behavior
also known as tonic immobility or thanatosis.
in an installation. 6’000 closed eyes, 3’ooo terracotta faces lost in introspection - no longer attacked, released.
Wanted: Arts funding, collector for a unique work
"Cibo - Come sarà la mia Ultima Cena ?"
La manifestione aperta al pubblico per 9 giorni di seguito sarà animata di vari eventi collaterali in tema:
- Sabato 24 maggio - dalle ore 17.00 apertura mostra e vernissage / performance
- Domenica 25 maggio - ore 18.00 Spettacolo cabaret "Agrodolce" con Claudio Batta, noto comico di Zelig
- Mercoledì 28 maggio - ore 21.00 cinema in piazza - film a tema
- Domenica 01 giugno - dalle 11.00 alle 15.00 finissage, mercato in tema, workshop e altri sorprese in piazza
- Tutti i giorni dalle 14.00 alle 20.00 (esclusi 24 maggio e 01 giugno - vedi sopra)
In allegato troverete il programma completo.
Vi aspettiamo numerosi a Monte !
Il comitato MonteArte
Contatto
Vice-presidente:
Irene Petraglio: +41 (0)76 329 16 54
Progetto, ideazione e organizzazione:
Harald Mol: +41 (0)79 621 21 83 / Curt Walter: +41 (0)79 480 86 75
Come punto di ristoro a Monte consigliamo L'Osteria Montanara tel. 091 684 14 79
Illuminazioni | proiezioni di 45 immagini sulle facciate delle case
e dei monumenti del paese, oscurato per l’occasione durante
tutto il periodo “Ultima cena?” è suddivisa in due parti
part #1 | Illuminazioni, 2012 || part #2 | Installazioni, primavera 2013
An der Schnittstelle von Chemie und Krankheit. Die Gesetze der Energie.