small formats

it’s not so easy for me to pack large landscapes into small-format pictures, as I first work out the specific mountain forms with my painting processes, which requires a certain amount of working space. so i don’t want to reproduce what i see in a smaller scale, similar to photographs.

this resulted in landscapes that move across many panels (wall movement 1-9), or small-format series reminiscent of my long-distance hikes (gta series, Rundwege series).

small pocket notations, such as distant and close-up views, and also weather stone details or swiss mountain trail impressions.

small-format sequences that run like films – sometimes a flyover, sometimes a zoom-in as in the gorge and waterfall views or the greina series.

after the landscape drippings (the effort of the ascent), i was tempted to paint details that are close to what i saw, like the mittenwald minis.

and: over the decades, …. postcards are created again and again

with political statements in art, there is often a fine line between reacting to and representing hard facts (war) or circumstances (flight). in my epiphany series nevertheless, the direct realization of my astonishment at the storm drove me to the capitol.

my hallstatt series is also in a certain way a reaction to … a call for entries on the subject of salt – which for me is not primarily ‘white/transparent/liquid/crystalline’. I see it in relation to the extraction of salt in the mountain, where it still shimmers brown-red-grey and is hard. And I always see the background: the extraction of salt over the millennia.

i have been photographing environmental changes on my journeys through the mountains since the 80s. a résumé of the culminating conditions in the mountains caused by climate collapse is the series there are no certainties – the presentation of the partly sobering, partly helpless actionism-like measures can be continued endlessly.