The making of

Chäserrugg in three steps. Actually there were some more steps, but the principle is the same: each layer is in a contrasting colour to the one preceding it. The colour itself doesn’t have to be representational, it can be any colour I want. But the tone-value, the picture in black and white, must be the same as in reality to create pictorial light and space.  With each layer I look for a more clear definition of the underlying forms in the landscape.




This sounds like a clear recipe, but the reality of making a painting is something different of course. Things usually go wrong, during the making I might have to rescue the image a couple of times. Nevertheless I try to formalize my method, so I can analyze the steps I take to realize the image. By doing so I reduce the amount of information. When I start with a painting I have a clear idea about the mood, the expression so to speak. But when work is in progress I think about the problems in a formal sense. In the end the question is: what is my painting? It’s not to difficult to depict something in paint, but that’s just a picture, not a painting. When does a picture transforms into a painting?






A couple of questions that I find interesting in painting:

  • Making a pictorial space, without sacrificing the integrity of the material. By this I mean that the paint and canvas should show themselves as concrete reality, while conjuring the illusion of space. In this way abstraction and realism are two sides of the same coin. I want to show how the illusion is done, but retain the illusion at the same time.
  • The relation between the details and the whole in a picture. A painting should have tension all over the surface, no weak spots allowed. But how to achieve this when you have all this different elements in the image, that are necessary to show the image you wanted. Trucks, buildings, rock formations. The representational relation can make a painting overcrowded.
  • The complexity of the visual world, how to reduce this without losing the richness of the natural form. The elements in a painting should not only be descriptive, but become a formal reality on their own. But this becomes meaningless to me if its not representing something, not creating a illusion.