In this article I give you insight into the creation process of my works. You will learn which style variations I use for the realization and how I connect my motifs with the background. 

The connectedness and its appearance

Before I go into detail about the creation, I want to start by talking in general terms about my choice of technique.

By now you may already know that the theme of connectedness is at the heart of my artistic work.

If at this point, you’re asking yourself: Why connectedness and what exactly is meant by it? In the article “An honest interview with the artist” you will get insight into how I came to this theme and what I want to convey with it.

Back to connectedness. This theme runs like a golden thread through the works of my last years. Stylistically, this aspect is particularly evident in the single-line drawing and the way it connects with the background of my works.

By creating the motives in a continuous line, I want to emphasize their connection to their environment, other living beings, but especially to themselves.

The background also plays an important role in the creation. Depending on the style variation (more on this below), this either contributes to the form of my motifs or it supports them in their dynamics.

Unfolding from the background 

In this style variant, the background is significantly involved in the fact that the motifs can unfold on the canvas in the first place.

In the creation of the background I proceed very intuitively. Layer by layer, a colorful composition is created, which goes into depth.

So that the different layers appear transparent and create depth overall, I dilute my colors with a lot of water. Until a layer dries, it can therefore sometimes take hours. So the creation process can take many days or even weeks.

The finished background then has a significant influence on my choice of motif. I try to discover subjects in the already created forms that appeal to me and embody what I want to convey through art.

This process can sometimes be very meditative. Then I sit in front of the completed background and let it work on me until a motif emerges from it that I feel like continuing with the creation. This I subsequently develop through the one-line drawing.

If it is a commissioned work, I start in the creation process always with the impressions from our preliminary conversation (motif wishes, color, expression, energy, emotion, etc.) in mind. Thus, I still work very intuitively, but I will incorporate your wishes and ideas so that a work comes to life in which you recognize yourself.

Supported by the background

The second style variation was originally inspired by my digital work (e.g. my wall calendars). In the development phase, I therefore work digitally. This allows me to present an elaborated design before the realization on paper or canvas. This variant is therefore especially popular for commissioned works.

In the design I proceed exactly the opposite as with the subjects that arise from the background. I start with my motif and the development of the one-line drawing. Depending on the commission and the motif, I sometimes use photos as a guide.

Based on the drawing and the motif, the background is then created. It supports the dynamics of the drawing and carries it from the depth into the foreground.

When transferring the design onto paper or canvas, however, I very much start with the background. Only after its completion I put the one-line drawing on top.

Although I work exclusively with opaque color surfaces in the background in this style variant, the theme of transparency and depth is also very important here. This is because the overlapping of the individual areas (in the digital design) creates intersections, which in turn feature new color tones and bring a special dynamic to the composition.

My inner critic and completion

It’s not unusual for me to reach a point in the creation process where things just don’t want to go any further. That can sometimes be a bit frustrating.

What helps me in such moments is to put aside the work I’m currently working on and occupy myself with something else. Just clear my head and get out of this situation I’m stuck in to create some distance.

Another exciting topic is primal trust. Sometimes I get away from that feeling of trust when my head takes over too much. But I have learned to let go and relinquish control. Then I trust that my intention to create meaningful and impactful work will carry me forward. In this feeling of primal trust, I find it quite easy to overcome obstacles and get back into the flow.

After days and weeks of planning, letting go, trusting, surpassing myself, dedication and joy, I get to the point where the work feels finished to me.

Then I usually put it aside again for a few days. Because sometimes I notice a few little things later that I still want to change.

That feeling of completion is a tricky thing though. As you can tell from my choice of words, it’s a feeling. And sometimes it comes up pretty quickly, other times it takes longer. But one thing I know for sure: At some point, the feeling of completion always occurs.

Then I feel a sense of satisfaction and of arrival spreading through me. Curious, I begin to philosophize about how the story of this newly created work will continue.

Space for self experience

And I hope that the story of my works will continue for a long time. Because the completion is only the beginning of the journey – your journey.

Then I open the space for experiences that go beyond the visual perception of the works and I invite you to get in touch with yourself, your body, your emotions, your being.

For this purpose, since 2023 I have designed a short meditation-fantasy-journey for each new work, which deepens the personal engagement with the depicted. This gives you the opportunity to engage with the themes of my works with all your senses and to get fully into feeling.

What this experience looks like, you will find out on my >>Youtube Cannel<< (only available in German).

The painting surface and my colors

I always like to experiment with new materials, but one thing never changes: my quality standards.

As a painting base I use high quality canvases on wooden stretcher with a depth of 2 cm or handmade paper, made from 100% long fiber cotton fabric.

For my backgrounds I use high quality acrylic paints, which consist of light-fast artist pigments and are environmentally friendly.

Acrylic because the colors dry quickly and I can therefore easily apply several layers on top of each other without the colors mixing. Since I use a lot of water to make the layers appear glazed to create depth, this is a crucial factor for me.

However, sometimes I deliberately use the effect of mixing colors when the colors are still liquid.

Another advantage of acrylic paints is that they create ideal conditions for the next step of my works, the one-line drawing. I create these as needed with pigmented and highly light-resistant drawing ink or acrylic pencils.

For optimal protection, I finish my works with a transparent varnish sealant. This increases the resistance to weathering (especially UV rays), dirt and mechanical stress. It also gives the colors even more radiance.

The color concept

My works are usually very colorful. Why? Because life is colorful and I want to reflect this quality in my art.

When choosing colors, I combine my intuitive composition with the knowledge gained from color theory. This gives me the opportunity to work with a color concept that is both personal and theory-based.

For example, I love to combine warm and cool tones. I also find it very exciting to use complementary contrasts. This involves using two complementary colors, they are directly opposite each other on the color wheel.

This gives the colors a higher luminosity and creates more of an effect. This arouses tension and the works appear dynamic, lively and complete.

Ultimately, however, the overall composition is important to me in the creation of my artwork. It should be harmonious, coherent and balanced.

You are interested in the creation process of my works and you want more details? Perhaps also insight based on several examples of work? I invite you to a chat with me in my studio in Salzburg. Simply contact me via da form.