O n  B i g  D r a w i n g s

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       When did you start drawing? Were you naturally attracted to this medium, or is this a more recent concern and engagement?


I started drawing as i was a kid. My dad showed me how to draw. I loved it and that's when it started. I decided to study art as I was 14. 


       What do you make of the traditional idea of 'mastery', which despite a lot of innovation, continues to have an ongoing association with drawing.


 Craftsmanship or outstanding performance this is how mastery is defined. The drawing has long strolled beyond the purely handcrafted, masterful. Nowadays, drawing is to be understood as an independent art form that no longer has its place as a forerunner e.g. has for painting, as it represents a template that is later reworked in color and painted over, but it stands independently and self-confidently next to painting, video sculpture and the like. s. w. 


       What is a good drawing? What is a bad drawing?


In general, I find evaluations difficult if I assume that, as Beuys said, everyone is an artist. For me there is no such thing as good and bad as an assessment of art. 


       How important is a notion of 'process' in your drawing practice?


A nice question, the process is the path my drawing goes piece by piece on the white sheet of paper. 


       The main theme of our project is 'OnBigDrawings'. What do you make of big drawings / or small drawings, and why does it matter? What kind of relationship do you want your work to have with its audience?


...stunningly impressive :) 


       What do you make of small, intimate drawings, sketchbook pages, beer mat sketches, and scribbles. Are these sheets more 'personal' or can they be art?


a lot... Cy Twombly didn't become a famous artist for nothing 


       The current student generation is hugely influenced by graffiti and Manga culture, as well as a desire to represent things in more classical ways. How do you relate to this trend?


That may be, but as a lecturer at the university I have to say that it does not exclude the interest in experimental work. Just last week the master’s students developed an audio drawing for me that refers to the sound legends by R. Murray Schaffer and is not necessarily to be understood as a classic drawing. 



9)How would you define the fundamental differences between painting and drawing? (A quote: 'A drawing is a painting made with less paint', ... Henry Matisse).



       Asian drawings are known to celebrate a notion of 'emptiness'. Do you seek 'emptiness' in your work?


My work shows up, both on the sheet of paper and in space as an outline that is only filled in selected places. That means the emptiness is an important element in my work. However, I don't understand this as emptiness in the conventional sense. For me, emptiness is space. An "empty area" and thus also an area that I understand two- and three-dimensional as a dialogue partner to the line on paper and in space. 


       Traditional drawing is a more intimate and 'personal' artform, yet a lot of contemporary art practice seeks a more social and participatory dimension. How is this reflected in your projects and drawings?


Both sides are important to me. I am just as interested in intimacy as it is so beautifully described here as I am interested in drawing e.g. to combine with a performance and thus e.g. to develop a social or participatory togetherness. 


       Drawing is often treated as a very technical medium in art education (especially in US art schools). Do you think there could be other ways to teach drawing?


My current teaching experience shows that there are numerous other options. Drawing serves as a research tool, as a form of language to e.g. To illustrate ideas directly on the construction site Drawing means searching and finding. Grasping and grasping form Drawing is used to train perception and helps to execute ideas Drawing helps intuition to use it, as it can be used immediately (intuitive idea visualization) And it is the starting point for thinking A technical application alone will not do it justice. 


       One question foremost on my mind, was: how do the artists respond to Covid-19 and the global crisis, and do you think the new situation has an impact on your creative practice, your exhibitions and projects, and the nature of work being affected by working from home for extended periods of time? Perhaps artists start making smaller scale, more intimate works, made from simpler and easily accessible materials ?


Covid 19 and the reaction of artists and art to it is an extensive question that I can only partially answer. What I was able to observe in my own environment was that what I associate with the cultural work of art, to show oneself and to be viewed, was massively restricted. There were hardly any openings at the beginning of the first lockdown. 


Then the resourceful artist or the resourceful gallery found ways to make art accessible to the public at a distance. That was in the summer. Even the art fair took place in Berlin. Nevertheless, it is a massive cut in cultural life itself when only 4 people are allowed to be in a gallery room ... the conversation about what is to be seen, the standing together in front of the work of art, the social togetherness is gone and with it the discussion about art, the exchange, the making of new contacts and new possibilities. 


Art and its presentations are not created on paper or, as with Spitzweg, in the quiet "little room". Art is alive and if its air is taken away by the restrictions, it hardly gets any air. In this respect, of course, it also has an impact on my artistic work. Right now, a performance planned by me and my performance partner in November in Holland became impossible for the reasons mentioned. Working at home or in the studio, the so-called "home office" is nothing new for me as an artist. I love and know the withdrawal from the outside world as a necessity and a gain. 


In relation to Covid 19, this was nothing new and compared to other professions, as an artist, I was able to continue to do my studio work, which despite the circumstances was something I feel grateful for. Are artists starting to make smaller objects and projects out of simpler materials? Surely artists will find their way and that might be one of them But I also think that artists are free spirits, free spirits who are always looking for new ways. As curious as I am, they will find a way to not “only” stay small, but big again.