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de picturis meis
One says photography is an analytic discipline, painting is, however, a synthetic one.
Some people have analytic imagination, some, a synthetic one. Some also have none. I dispose undoubtedly of a lot of imagination. Whether, analytic or synthetic ... for my work I need the both of them.
Thereby photography is my "assistant", my faithful servant and companion, while the painting is my element, my medium of expression.
Painting is one of the most demanding and most intense activities I know. When I am painting it is impossible to my to thinking of something else, than what I am actually doing. (It´s like playing a musical instrument!) I do literally plunge into my work. When I am painting there is only my eyes, my tools and my hands.
Besides, for painting I need time and concentration. I like best to work quite alone. I avoid disturbances, telephone calls, mails. Hours can pass on wich seem to me like minutes. I need even the alarm clock to not to forget the time and everything else. When I am painting there is only painting.
My research for motives and models it is completely different. When I go "hunting" my motives, I take my camera and put all senses "outwardly". I go out and observe. Sometimes I have a certain aim, sometimes I don´t. When I have found something or somebody, I take my time in order to observe. It happens that I only observe ... to come around later. Question of feeling. If the situation allows, I also enjoy talking, I try to catch a part of the personality. To approach "nearer". This is important for the picture afterwards. The choice of my motives is intuitive. The strange interests me, the inconspicuous, the beauty, the repulsive, the unspeakable - things slightly beyond of what is called "the usual". Besides, I do not judge. I simply accept. I document. No more, no less.
Today, in consideration of photographs, one cannot be sure any more what is real and what is posttreated.
In painting there is no question of genuineness. Painting, even documentary painting, is always filtered by the eye and the hand of the painter. But at the same time the painter adds his own truth to his painting. Exactly in this truth there lies the magnitude of painting.
My pictures are snapshots, but quite naturally and independently my knowledge of the Before and the Afterwards of the moment, my knowledge of the whole situation flows in and onto my painting. From snapshots become stories. And exactly therefore it is to me.
According to a Chinese proverb, a good story from ears does eyes.
However, a good painter from a painting does a story.
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