is there –at first glance-  anything simpler and at the same time more genuine than to let flow onto paper an idea by means of brush and in water dissolved colour? And when carrying it out, proves to be even more difficult, requiring to be concentrated, collected and yet at ease and spontaneous, wanting to finish within a few minutes? At the virtual meeting of a fairytaled drop in the ocean with a tsunami two opposing worlds seem confronted? Like if seen in a literary way, this could happen to the attentive reader when trying to read two books entitled "zen or the art of archery" or ‚doped biathlon towards limits"‘ at the same time.

Franz Liszt´ konterfei als synästhetisches antlitz & handfingerspiel – der komponist outete sich mehrmals als synästhet: oft werden seine sätze bei einer orchesterprobe in Weimar zitiert, als er die musiker bat, "ein bißchen blauer" zu spielen, weil es die tonart erforderte, wie auch: "das ist ein tiefes violett, ich bitte, sich danach zu richten! nicht so rosa!" (aus der Neuen Berliner Musikzeitung, Jg. 49, 29.8.1895.) Ich hielt es daher bei der arbeit zu diesen portraits des komponisten fuer legitim, mir selber vorzusagen: „bitte mehr handlung, mehr hände ins spiel, in die farbe, ins gesicht!“, - als wäre ich bei einer Liszt´schen piano-performance zugegen gewesen.

seasonal aggregates I-IV / helices

"where does art end, where does fashion begin?"

more information on the following pictures and each of their history can be found on my blog poesis & crisis:

works for seasonal aggregates were all done in AquaBrique technique, experimental aquarelle.

lake-a-loon & lake-a-like

lake - a - loon   -   

the balloon-cover wraps a virtual entity. In the following watercolour paintings the locked atmosphere within a balloon seemed to me a suitable frame for expressing various themes. The series lake-a-loon followed the series lake-a-like, the cycles were shown 2007 (lake-a-loon) & 2008 (lake-a-like) respectively, in the gallery of the city museum of the town of Rust; artstage and myself had opened a separate blog for this purpose, visible just here:

the papers used for both series are of the same make: hand-drawn Ecus Sistina approx. 50 x 70 cm from an Austrian papermill which after the tragic death of Christian Pickat unfortunately does not exist any more. I had stored and left unused for many years some sheets in a supply cupboard, until I discovered this paper as being ideal for my aquarelles. By complicated research I was able to find and buy some leftovers of this paper and thus was in a position to  use it for completing my work.

mercy, mercy, mercy

"this summer I noticed that it was probably essential to reach certain limits to enable me to get back into moving much more freely within the actual medium. The element water around me helped me very much to kind of freeing myself swimming“. Andreas Roseneder has spent a lot of time this summer at Austria’s Lake Neusiedl. During this intensive workphase he listened to the song Mercy, Mercy, Mercy on the radio and heard of the unfortunate death of the great jazz-musician Joe Zawinul.  It became a must for Andreas Roseneder to directly apply the music of Joe Zawinul when painting the nature of Lake Neusiedl. Here were created watercolour paintings full of poetry and strong colour intensity. A painted tribute to the great  musician. Jazzy sounds which meet a soft and slightly lyric fundamental atmosphere; a dialogue between powerful expressionist energy and picturesque sensitivity. For Roseneder this means a further launch in his artistic development. He throws graphic pathes onto smoky earthy colour-plains, accompanied by base sound from the background and full of spirits. A celebration of gesture, an anthelm to the longing for gesticulated painting and cravings for creative inventions. Jucy material battles, excellent timbre, powerful sound, and of catalyst might…"

(free translation: German text by Dr. Bernhard Dobrowsky, art critic, October 2007)

gedankenfolgen zum aquarellieren am wasser

with water at water in water

the reciprocity between the site at the water, the light and the aquarellist is quite a direct and penetrating one. Peinture en plein air means freedom of workshop and demands a certain way of great ease and minimalistics, but it also requires exposure and readiness for openness and spontaneity: as an example painting directly with lake-water.

Water by its plain or otherwise broken mirror-like reflecting surface does change the light, by its curly wavy movement alters the forms, by its murmuring or roaring tunes affects the spirit.

Working ashore forces you to observe nature and weather developments without electronic media: the passing heron becomes a phantom on the retina, surprisingly upcoming thunderstorm clouds find an echo of light and shadow on the paper, the charged atmosphere gives tenseness to the body and  subsequently forces fast hand-movements across the paper. First raindrops may prove welcome because useful, but it’s safer to search a huge tilt or a dry ‚fox-hole‘.

Here is no place for a radio or a cellphone: it would be best to search for a place which could be suitable for meditation and actually take a full day off away from any obligations or plans, because only within such a vacuum free from outside communications, concentrated work is possible.

Nowadays something that just cannot be: in May 2007 I called the watercolours painting as obsolete and this  because I had then thought to have already discovered all the secrets of this painting medium and to have explored all its limits – thank god a false conclusion on my side.

4 September 2007

from the archives

aquarelle is a paintings technique which I periodically love to use and I have in the past painted here again and again various cycles. Here I wish, therefore, to document primarily some actual samples. Giving a complete documentation of my work would virtually steel too much time away from my direct art work – hence below just in marginal shortness another three exemplary pieces of aquarelle of the 1990’ies series: