Kunst & Kommerz II

Vor zwei Wochen habe ich ja eine Lösung erhalten um einfach mit Kaufinteressenten in Kontakt zu kommen und nun sieht man auch auf der Portfolio Seite sofort, welche Bilder noch käuflich sind. Ein Bild, welches bereits verkauft ist, ist mit “Sold” markiert, wenn man mit der Maus darüber fährt.
Alle anderen Bilder sind demnach noch erhältlich, nähere Informationen über verwendete Materialien und den Preis erhält man, wenn man auf das Bild klickt.

Die technische Realisierung ist hier und hier beschrieben.

Kunst & Kommerz

mohamed_hassan / Pixabay

Wie vermutlich jeder Künstler, möchte ich meine Arbeiten nicht nur zeigen, sondern auch verkaufen. Das klappt ganz gut über Ausstellungen, also offline, und manchmal eben auch online. Zu Beginn meiner Künstlerkarriere hatte ich hier einen Shop (woocommerce) integriert. Das stellte sich als ein wenig überdimensioniert heraus.
Ich hab die Erfahrung gemacht, dass die meisten Menschen Kunst nur dann online kaufen, wenn sie mich entweder kennen bzw. meine Malerei schon mal gesehen haben.
Also hab ich den Shop wieder entfernt. Ich möchte natürlich dennoch sichtbar machen, dass man meine Bilder kaufen kann.
Bisher hatte ich nur einen, relativ diskreten, Hinweis auf meiner About Page dafür. Aber es braucht schon eine gewisse Zielstrebigkeit um sich bis dahin durchzuklicken;-)
Nach vielen Diskussionen mit meinem persönlichen IT Master, haben wir uns darauf geeinigt, dass unter jedem Bild, welches verkäuflich ist, nicht nur der Preis erscheint (!) sondern auch ein Kontaktformular, welches von einem Kaufinteressenten schnell ausgefüllt und versendet werden kann.
Die E-Mail, die ich dann erhalte, enthält neben dem Titel des Bildes auch den Namen und die E-Mail Adresse des Interessenten, so dass wir nun zueinander finden und die Kaufabwicklung klären können.
In einem nächsten Schritt möchte ich nun noch auf der Portfolio Page sichtbar machen, welche Bilder käuflich sind.
Aber dafür muß ich erst einen neuen Termin bei meinem Master buchen 😉

Random Order

For this painting I left a bit my usual way of mixing natural pigments with different media to create in-depth nuances of one or two colours.
Here I just used gesso and mixed it with ash and metallic silver paint. This melange resulted into something very organic, with wonderful, random structures and colours. To me, it looks like the walls of a cave, deep under the earth, with metalliferous lodes. These imperfect, coincidentally structures contrasts with the perfect shape of the pink square in the corner. Somehow, that’s just like in “real” life: there are things that we can plan, develop and create exactly how we want them to be, but many things just happen by chance.
The challenge is to balance both.

Blue Study Series


Making that painting was a real struggle for me, on the one hand technically and on the other hand emotionally.
I used different blue pigments in different solvents which still reacted with each other long time after I decided the painting is ready, but not in the desired way. The components changed colours and structures and I needed to find out what happened to be able to correct it e.g. use it. Thus I tried different compositions on smaller canvas which resulted in a little series of blue-greens.

The technical exploration was fun and I learned a lot. The other side of the making was more difficult. I thought of a person close to me and to whom I am strongly tight emotionally. Our relation was not that easy over a long period, when I did not get the care I needed, when I did not understand decisions imposed on me, when I was lost and sad.
It changed over the time, as we both were able to talk to each other on equal footing.

That painting expresses all my ambivalence how I see this person: the deepness and the impenetrability, the beauty and ugly, the strengths and weaknesses, infinity and finitude, steadiness.
Hard as a rock on which you can crash, but also can provide protection.



In the 18th century, quinine, obtained from South America was the expensive medicine used to treat Malaria. Because of the high costs, chemists were experimenting to develop a synthetic equivalent, so did W.H.Perkin. He did not succeed in creating quinine out of coal tar but accidentally discovered the colour mauve.

I combined violet pigments with some green mineral pigments, mixed them with a light grey in cold wax and acrylic to create a more soft, subtle, undecided appearance.

Mauve was long time a colour preferred by noble women, such as Eugenie, the Empress of France and thus became very fashionable for some decades but this trend burnt quickly.
For a long time, the greyish violet was often related to old women and not popular at all.
This might change as Pantone declared ultra-violet the colour of the year 2018 and I guess, all it’s shades will become fashion again 😉


I like to experiment with different materials over and over again and try out how they react to each other. For this painting I mixed blue and white pigments with cold beeswax and acrylic, applied all in countless layers on canvas and the result fits perfectly to the time of the year.
Actually, I did not think much of winter, the painting just turned out like this. I can see some snow on top of the Canigou, about 80 kilometers away, when driving to the supermarket, and that is indubitably a beautiful view, but it’s enough winter for me 🙂

Imagine, you are walking through a snow-covered forest, it is clear, icy cold winter weather, the snow crunches under your feet, ice cones are hanging from the branches. All that I can see and feel in this painting.

Endroits pour montrer l’art

Comme tout artiste, je voudrais montrer mon art à une audience plus large. Pour cette année, je n’aurais peut-être pas la possibilité d’exposer mes peintures dans l’ARTFabrik car le lieu a été vendu et transformé en lieu privé. Par conséquent, j’ai postulé dans certaines galeries dans notre région, la plupart dirigées par des
associations à but non lucratif et / ou des municipalités. J’ai appris qu’ils ont de longues listes d’attente et sont complets pour les trois prochaines années.
Par chance, j’ai eu une offre d’exposer chez un coiffeur de haut gamme à Perpignan.
J’hésitais un peu, si c’est un bon endroit pour montrer l’art mais que puis-je perdre? Je préfère de montrer mon travail là où les gens peuvent le voir plutôt que de ramasser de la poussière dans le coin de mon atelier.
C‘est aussi un peu subversif 🙂
Au moins, j’ai eu l’occasion quelqu’un voit mes tableaux et se familiarise avec mon art et mon nom.
J’ai réalisé que les lieux alternatifs deviennent de plus en plus attrayants pour les artistes. Il existe plusieurs lieux d’affaires, tels que des restaurants, des hôtels, des banques et des boutiques haut de gamme qui exposent des œuvres d’art et organisent régulièrement des événements artistiques.
Dans mon cas, le coiffeur organise des expositions mensuelles avec des artistes locaux, car il aime l’art et
veut soutenir les artistes locaux. Il a aussi une clientèle illustre qui s’intéresse à l’art. Cependant, je soupçonne qu’il aime améliorer son décor avec de l’art étonnant, ce qui rendra son espace meilleur à ses clients et l’aidera à être spécial par rapport à ses concurrents, ce qui pourrait augmenter ses opportunités d’affaires.
Les avantages sont des deux côtés. Pour le lieu, l’art ne coûte rien et ils peuvent changer les expositions régulièrement pour le partager avec ses clients. Pour moi, je vois cela comme une opportunité d’augmenter mon exposition locale et d’établir
des contacts avec un soutien et des acheteurs locaux potentiels.
Après avoir suspendu mes toiles la semaine dernière, je dois dire que j’ai été surpris de voir comment elles embellissaient l’endroit, ça a l’air vraiment bien.
Voyons comment les clients réagiront à cela.


Heart - Jeff Koons

Powerful Red

I finished another painting, a bit similar to the Autumn Leafs painting, but with a much clearer structure and so I think, more powerful.
Also, I used different materials: lime, marble powder and cold marble wax for a smooth structure and shellac ink for a warm subtle tone.
This time, I really wanted to get a very deep, strong red. It’s not as easy as you might think by using different shades of red pigments. Red ochre is anhydrous iron oxyde, a mineral. It comes in shades from very dark brown-red to light yellow.
These minerals tend to turn either into a brownish red or rusty tone. So I mixed them, layer by layer and added some yellow pigments.

I wrote about the meaning of red before but I would like to add some more aspects to it.
Red, is the colour of power.
Kings, cardinals and Roman generals wore red.
Did you know, that about 75% of the worlds flags contain red?
But red is also associated with blood, danger, aggression and lust. The devil wears not always Prada but red and in the middle ages it was the colour prostitutes preferred to wear, until today we call the  area were the prostitutes are presented the red – light district.

These oppositional attributes make red a tricky choice for brands.

One can say, red is the colour of life with all it’s facets: power, joy, sex, danger and death.

I hope you can see the power of life in my painting 😉

Imitated Rust, seen at ART Basel

Rust – Rost – Rouille

I always experiment with different materials and inspired by some art I saw at the ART Basel, I wanted to create artificial rust on canvas.
There are ready to buy kits for creating artificial rust, which are quite expensive and I thought, also boring to apply. I like to figured it out by myself 🙂
Obviously, I needed some fine metal shavings, which I could get from the local blacksmith. He just shook his head when I told him what I was about, I believe he thinks I am a bit crazy…
These shavings I mixed with acrylic medium to apply it on a wooden board. To activate the rust I moistened it with acid. That process I repeated several times until I got the desired result.
Between I incorporated several layers of acrylic and oil paint, and other media to create some special effects.
I learned a lot about how the different materials react to each other and now I am ready to apply this technique on canvas too.

vine leafs

Autumn Leafs

The last weeks were packed with lots of stuff. Currently, I am mainly working with Clara & Tobias in this old house and it’s really heavy work. We are still building the new separation wall and we already reached the first level (cave and ground floor are done!). It’s not only building this wall, it includes also removing old floors (very dusty), sort out the waste and bringing it to the dumpsites and shopping lots of bricks and mortar.
On top of all that, I relaunched this website with the help of my personal specialist, assembled my first portfolios of my paintings to apply in art galleries and organized the daily stuff necessary to keep the household running.

Despite me being very tired, I somehow managed to make a new painting, quasi to relax and see something nice after all this dust.
It is, to a certain extent a complement of the Autumn painting I did a few weeks before. The wonderful colours of the vine leaves right now inspired my to this composition of red and yellow ochres. Foreseeing the fate of all these leafs, I added some fading colours such as sienna and umbra.
All in all, it creates a warm feeling and let me thinking back on the summertime.