Interview with *EintoeRn
How would you explain the concept of abstraction/surrealism to someone who has never heard of it before?
An abstract picture (maybe less so a surrealistic picture) requires the imagination, ideas and mind of those who watch it. Such it is not a one way street which transports the artist‘s vision to the watcher, but can at its best be a bidirectional process by giving the watcher the chance to be creative as well.
What inspires you to use the concept of abstraction/surrealism for your artwork?
It is commonplace knowledge that at least since the impact of the technical revolution of electronic media, a flood of pictures hits everyone of us a day by day. Many of these pictures show objects, situations, behaviors, scenes...which we all have seen ever so often with only little variations. Even with perfect technique these sometimes become less interesting to me.
With (just my personal idea of) abstract photography there is at least a little chance to find some "hidden" or less or common or even new aspects, like of everyday items or of whatever you are able to imagine. Looking for these can almost create the feeling of a treasure hunt - or that of frustration.
What do you want to express with your artwork?
What’s your source of inspiration?
Do you think that the "quality" of an artwork depends more on technical perfection or on the message/expression?
Noise, blurring and low contrasts from low quality optical sensors and lenses and long exposure times can certainly be means of artistic expression by their own - like it or not in general or specifically. In all other cases I personally prefer a certain technical quality. But in the end you probably can find as much uninspired stuff with excellent technical quality as you can find interesting stuff with low technical quality - and the other way round.
Who’s your favourite visual artist and why?
Sure enough, paintings of German expressionists (such as August Macke, Franz Marc, Ernst Ludwig Kirchner, Otto Müller) and contemporary art (such as Warhol, Stella, Rothko) had a large influence on my visual education and understanding. A larger number of movies, for instance long lens esthetics - as typical for a number of road movies and also the so-called "spaghetti western" from the 70s - certainly also had a certain impact. When I think of "The Graduate", for instance, I remember the pictures (and the music of course) rather than a somehow commonplace adolescence story with a little rebellion in it.