Ein Quäntchen von der Wahrheit im Bild haben wir

vermutlich erfasst, wenn wir auf uns selbst stoßen.

Wolfgang Nußbaumer M.A. (Lebensklang, Exhibition 2015 / Auszug)

There are moments that immediately activate something in me – that influence my vision. These are strong moments, sparks enlightening everyday life, and not fully elaborated visual concepts. 

These seconds of perception are changing through the process. It feels like the picture is growing and maturing. I start directly or I make a sketch for layout, dynamics and focus. I paint figuratively. The motive is a result of an inner dialogue between feeling, sensing, thinking and hearing. Yes, I hear my painting. And fight with it. It is loud, quiet, chaotic and fast, slow and tender… Spaces secure the central figure or tensely contrast it. They are simple or ornamental. For this purpose, I use the beauty of colour compositions and the detailed elaboration of backgrounds and narrative elements.
In the end, it is all about the central figure and its posture, its glance and what it causes inside the viewer.
While painting, the images leave my self and resurface on the canvas. I release them. The questions why and for which reason become clear just like in real life – by looking over my shoulder.

Two kinds of vision

The pictures of my series LEBENDSKLANG (Sound of Life) are realistic: they show a Person or Situation. Honest. Direct. Intimous. In most cases, I am in a personal relationship with them and see parts of me in them. The themes are perennial, like birth, death and love.
The pictures of my series GESTALT-TIERE (Character-Animals) show striking and vivid characters. The decision to portray particular protagonists as animals makes their existence and possibly even this unflattering representation, more smooth and forgiving or overwhelmingly orgiastic. It surely results in a humourous contrast to our at times dull daily routines. It might also be a means to see our world with its awful, wearisome and grotesque moments as a harmonic whole.

Both styles have a common component – the characters are central for my work and they are either in contact with each other or face the observer.