Welcome to the exhibition. It’s a pleasure to see you here.
Thank you for your nice welcome. I know you are a big exhibitor on this exhibition and I always very impressed with your work. This is impressionist style of you which has a little touch also to the expressionist one and that impressed me. All your artwork is very involving me, very impressing me and throwing me into the work. But unfortunately, you are very, very expensive already. So, I have not the money to buy the originals from you.
I’m glad you appreciate the blend of styles. It’s rewarding to hear my art moves you. Don’t worry about purchasing; simply enjoying it is enough for me.
Perhaps for you, but not for me. I would like to have it in my living room, see it every day. But I have a little feeling that’s not always important to have the paintings by yourself. Somebody told me paintings are like good friends. It’s very nice to see them, but it’s not very good to see them always.
That’s a very insightful way to look at it. Art, like friendship, needs its space, I suppose. What do you think makes a painting truly captivating?
Of course, that’s your brush strokes. That’s very impressive. Sometimes it reminds me of Van Gogh. It’s very sick and it has a kind of shadow in picture, so the picture likes a little three-dimensional, not only a plain one.
Van Gogh was a master of depth and emotion. I strive for a similar effect. What draws you to that three-dimensional quality in art?
That’s not so easy to explain. Uh, sometimes I think the painting, the artwork jumps into my eye, and then I so am pressed that I forget to see some deviation of a good technique and I don’t find out what can be doing other. I will be a little critical in all the paintings, but this kind of paintings, you are so expert into it, that I sometimes forget my critical attitude to paintings. That’s most important for me to see the refinements, to see the technique and if I’m too impressed, then I miss this whole view of it.
It sounds like you have a deep appreciation for the technical aspects of painting. So, you focus on technique and refinement. What specific techniques do you find most compelling?
I told you it’s your brush stroke. But not only that, it’s all the technique to find out the right contrast, the contrast between the vibrant colors and the more gray colors. And by this contrast, I find out it could be the reason for being suddenly suppressed and having only losing any distance to the painting.
Ah, the dance between vibrant and gray! I aim for a contrast that draws the eye in, creating depth and a sense of immediacy. It’s about capturing a feeling, wouldn’t you agree?
Totally agree with you. That’s what I meant. Uh, let’s go to these paintings over there. I see there are a little other effects and I can’t not find out how to explain it. Perhaps you can help me with this effect. It’s a shadow between green and blue very contrasting uh colors and but uh the smooth uh motion from the color to the other is very rare in the in the art.
Ah, yes, that interplay of green and blue. It’s about capturing light and shadow. The smooth transition you noticed comes from layering thin glazes of color. It’s a delicate balance. What do you think it evokes?
I think it’s a contradiction between the colors. They are always uh opposed to each other and to put them together uh it arises that allow uh quite new contrast and effects.
Yes, exactly! By opposing colors, new contrasts and effects arise. It’s a way to create tension and visual interest. Do you find that it works well in this painting?
Yes, it’s specially successful in this paintings that was the reason to uh to uh help me to explain it. And sometimes I think it’s a matter a very similarity to music. I like disharmony. Disharmony gives a boosting uh tension that I haven’t not in more classical music before, uh Brahms, before uh Schuman, uh it is like a music of contrasting harmonies like contrasting colors in paintings.
I see your point about the similarity to music. The harmonies in color create a tension, like modern music versus the classical masters. It’s a fascinating comparison. I am glad you brought it up.
the real question is: do you hear music if you are painting? Perhaps you grasp unconsciously disharmony and put it into paintings uh for transforming into colors what coming from from the music to you.
That’s a beautiful thought. While I don’t literally hear music, there’s definitely a rhythm and flow that guides me. It’s more of an internal harmony that translates into the colors and composition. Well, it was a pleasure talking with you about this!
I corrected only two small things in the discussion with Google translator exercising Programm. It didn’t understand disharmony, perhaps it’s isn’t English? And brush stroke. I remained sick instead of thick, I think everybody can guess it rightly.