Vita

I was born in 1954 in Aichach, Bavaria, Germany. For as long as I can remember, I have always loved to draw, paint and sculpt (and occasionally model).


(In the bathtub, Aichach 1956)

There were many stimuli for me at home: my grandfather's clay cellar in Aichach and later, after the family moved in 1962 to Lettenbach near Augsburg (Bavaria), the many art books and my father's studio.

School did not interest me at all at first, so my parents sent me to a monastic boarding school for a year to make me fit for high school.


(Algasing, oil on canvas, painted 1986)

As a teenager I wanted to become a car designer. I successfully participated five times in the design competition of the car manufacturer Opel.


(Award ceremony at the Opel competition 1969, to the left of the Jakob Sisters)

At the high school in Augsburg, I had a very dedicated art teacher. In his voluntary afternoon classes, he introduced a small group of students to techniques such as etching, silkscreen, tempera and acrylic painting, or pottery. We also vigorously discussed the latest trends in art. Several of the students of this group later studied at the Academy of Fine Arts in Munich, as I did.

My preferred field at the Academy, which I attended from 1974 to 1978, was abstract art.


(untitled, acrylic on chipboard, painted 1975)

Courses on color theory, especially on the "Interaction of Colours" by Joseph Albers, inspired me.

Only after the state examination for the artistic teaching profession for hight schools, I began to be interested in figurative painting. From 1980 to 2017, I worked as an art teacher at the Holbein Gymnasium,a high school in Augsburg. Originally I wanted to become a freelance artist, but I never regretted my decision to become a teacher. It gave me a lot of joy and it always inspired me to work with my students.

     
(Diesel Monument, Holbein High School, 2008)

My involvement with Max Beckmann in the mid-1980s led me to oil painting with multi-figure compositions in an expressive style. Gradually, my painting became more objectified until the photo-realistic "windows and exhibitions" paintings in the 1990s, which received great attention in local and international exhibitions. Parallel to painting, I was much engaged in ceramics and nude drawing, which I still practice regularly.


(Exhibition of the 100 vase women 1994)

Literary themes on Michel Houellebecq or Paul Auster were at the center of my work in the first decade of the 21st century.

When the newly planted garden developed after the move to Stadtbergen, near Augsburg, I followed the course of the seasons "en plein air" with my garden paintings. In bad weather I painted the interiors of the house or the view from various windows.

Inspired by Lucian Freud, whom I have long admired, I began an extensive series of paintings on the theme of "Nude in the Studio". In the process, it often turned out that I also quoted earlier pictures of mine, simply because they were standing around in my studio.

The so-called "photo-realistic" nudes from 2016 were created after self-taken photos and are painted in a freer brush stroke and more pasty than my photo-realistic works of the 90s.

Due to corona-related contact restrictions, in 2020 I also began (for the first time) to use photos that I have been provided via Instagram by models that I do not know personally. This is how the "Insta-nudes" came into being.

There were always tremendous upheavals in my work both thematically, as well as in terms of use of template sources and direct viewing. Since I work very intuitively and plan little in advance, I cannot say where the path will lead me further. But one thing has been constant for a long time: the tendency towards realism. I am particularly interested in physicality and spatial effect, light and materiality. For me, color is always only a means to an end. It serves my endeavor to represent what I see as true to nature and realistic as I can.