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1. The main topic, which I have taken up again and for years, is the psychoanalytically interesting
sphere of the manifold possibilities of inter-human relations.
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2. The group of the three different portrayals on the picture horizon of my work has - although
each time looked at from a different starting position - every time one basic theme, of
which also - again optically differently presented - the seated group of figures on the right side
of the picture gives evidence.
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3. Top left, picture group from left to right:
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Rudolf Hoflehner, showing off in front of photographer - silently crying in front of his own
sculpture which he names - 'The Soundless Cry'. An honest instant photo.
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Jesus Christ: Three dimensional cry, seen in form of the following threefold protest: a) As a
kitschy art conception around the turn of the century. b) The humane ideology of his message of the
later Christianity, in steady sequences of time politicized, commercialized, demoralized,
dehumanized and trivialized by the representatives of this message, the relevant churches. c) His
life. His work of humanity. His suffering. His death.
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d) Hans Bellmer, the psychoanalyst in the sphere of the sensitive erotic and brutal sexuality. He,
who understood it masterly to carry out his new type of ideas by using a perfect, manual
proficiency. His life. His work of subjective art presentation. His sublimated feeling of
suffering, which always reveals itself in some form in his work.
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4. Seated group of the Biedermaier-dolls portrayal, which represents within a certain symbolic
content the same, just mentioned problem, but articulated from a different viewpoint, e.g. a) At a
quick glance, the group seems to be a unit. b) The in reality existing inconnectedness of the
individual subject to each other person is shown: Through the groups of hands, stretched out into
emptiness, that cannot find each other, by direction of the pairs of eyes which do not meet each
other, by the unrealistic viewing of space - because of distorted presentation of perspective.
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5. In contrast to this, several times offered basic theme, the form of the left side of the picture
is, thematically as well as formally, handled in a totally different way. Symbolisms and archetypal
shapes are emerging.
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This comprehensive composition of objects, organic matter and animal parts mirrors one of many
possibilities of the subjectively, dreamlike experienced surreality.
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In spite of three-dimensional handling of the painting media, the fantastic representation appears
two-dimensional, clichéd, seemingly without three-dimensionality.
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This apparently non-three-dimensionality and therefore the illusory, thematic and formal
unconnectedness to the other picture events is pictorially offset on the one hand through the
formal and colour-determinated alignment of - as seen by the observer - the right pair of wings,
with the background, which, on the other hand, logically determined by its neutral and at the same
time imaginatively handled divisiom of space, presents a link with both pictures, reality and
surreality.
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