About Andreas Kramer´s painting
Statement, in „sintesi“, 2003
About Andreas Kramer´s painting
from Guido Suchomski
Expressive colours forms and symbols dominate in Andreas Kramer´s painting work. The figurative and abstract performance in the tone of strong lines and atmospheric planes blends to a spontaneous art, immediately born out of inner impulses.
The lightness stemming from this performance becomes the breath of Kramer´s composition through clear contrasts and fine nuances.In so doing Kramer provokes a sensorial way of looking at things which instigates confidence in one´s intuition and perseptive faculty.
Such an adoption resulting out of a musical experience opens Kramer´s creative cosmos.The abstract corporeality of Kramer´s figures becomes a language of symbols of autonomous conditions.
The paintings are built by eclipsing. An organic then grows layer by layer reflecting the way and the saerch. Fragments of colour and form that have momentary been taken in are combinad to a story. The origins of this story remain concealed in the artistic process.
Planes and lines arrange themselves like lyrical texts, concentrated on the detail, interwoven rhythmically, again discarded and arranged anew, but always oriented on the whole. The colours turn into water, into earth, into heaven, into light.
The forms becomes signs of reminiscenses, presentiments and impressions. The harmony and the equilibrium of the compositions are intentionelly in contrast with the misteriousness and restlessness of separate segments of the painting. Especially this very contrast gives Kramer´s paintings their philosophical and psychological depth.
The time turns into a dimension of a way of looking at things, The spectator only needs to surmount the border between the visible surface and hidden motives. That is not only a method of interpretation but first of all a way of inspiration.
(translation R&S Sunbourg)
Statement, in „sintesi“, 2003
My idea of painting is rather of a musical poetic nature. Colours and shapes are emerging together from the process of work, as a consequence of the contact of intuition and thoughts.
Material and technique are not changíng the ideas but enrich them using their inner, their own potential. I consider my woodcuts as paintings, they level with my canvases – they are very different though.
My compositions are not entirely abstract, and they will never become so. My forms are experiments in a search for essentoal, for signs of life.
In the beginning is the chaos from which – after a series of liberating, searching metamorphoses that destroys the darkness – the picture comes out eventually.
My Art is as complicated and simple as I am myself. Richness in detail and clarity of composition are not contradictions, in their conbination.
The true story of the picture is created. Signs, structurs and areas overlap. Create depth and will always return to their origin – to the landscape but even more to the female body.
