something about me
My artistic training
As a child I was allowed to be in a Rudolf Steiner School in Basel and I learned to draw and paint and a lot more. Later on I became a teacherin Canada. In my training I learned more about drawing and painting and a lot more. Then I taught children do draw, paint and a lot more.
During this time I was allowed to enjoy some art therapy, which helped me tremendously both artistically and healthwise.
l then came back to Switzerland and took training to become an art therapist. I finished with a diploma. I learned there the method of Liane Collot d'Herbois of how light and darkness interact and the colours come about in the sky or in a painting.
Since then I have visited further art courses.
My painting technique
I love to paint. As ab art therapist I am striving to make paintings that have a healthgiving and relaxing effect on the viewer. All paintings are about 75 x 55 cm big and are like windows, through which one can see into another world.
The colours are matched to each other, also in intensity. I pay attention to the colours that one can see in the sky. where are they in relation to me? Are they close or far away? How do they come about? They are the result of the workings of the sun light and the darkness of the atmosphere and of outer space. In a blinding light I can't see anything. In extreme darkness not either. Where light and darkness interact in the atmosphere, colours come about, which are not attached to matter. Those colours we can observe.
In my paintings I first imagine how light and darkness interact, bringing about colour. I start painting on white paper. I dicide right at the beginning of a painting, where the light will be and where the darkness. I apply a very light veil of colour on an upright painting. The colour wants to run down and I try to prevent that from happening, by putting just the right amount of paint and water on my brush and by painting very mindfully. At first everything in my painting is very light and bright. There is far too much light in the painting at first. Gradually I bring in the darkness here and there in thin veils of paint. Each veil dries, before the next one is painted over it. That which wants to be bright at the end of the painting precess must be left bright throughout the painting process, because water colours are very transparent. I can not paint over a dark colour with say white and hope that it will cover the dark colour and be visible. Once I have a certain amount of darkness in a painting, I can try to balance it against the light, so that there comes about a balance between light and darkness in my painting. It often happens, that I have painted for three whole days and I have colours that are nicely balanced and yet there is nothing recognizable in my painting except colour. The painting has not gone into any kind of form yet.
One can notice that the colours have some kind of movement, and that some colours are closer to the viewer and others further away. creating a sense of three dimensions. I call this colour perspective. here the blues are further away than the orange, in relation to the viewer.
Some people associate darkness with the evil and light with the good and the divine.
It can be so, but the good can alos be dark, and the light can also be destructive and deadly. I work with these qualities in art therapy, but also in my paintings.
Also, I love to paint imaginary angels and other light beings. I have seen a lot of paintings of angels that were not light beings, because they were darker than their surruoundings, which makes them into beings of darkness....
Often I have no Idea what a painting is going to become. I let my self be guided intuitively.
I don't paint every detail into for example a face, because I want the viewer to use his imagination to complete in thought what is 'missing' in my painting, thus becomming creative.
I have painted pictures of nature - the visible and brought in some invisible, imaginative, spiritual beings. Now I want to show a lot more of the imaginative, spiritual, and only a hint of nature or architecture. Instead I want to show more the interplay of light and darknes, formative forces and other spiritual aspects, the way I imagine them to be. I am taking paintings, which I thought were finished, and am reworking them. Here is such an example.
I feel that I have gone into a lot of form in most of my paintings and then the wish arose in me, to soften the hard shapes, and show the formative forces, the working of light and darkness and other spiritual aspects, as I imagine them to be, since they are not perciptible to our eyes.
Since I spend many days on one painting, I can't sell them cheap.
Most of my paintings are about 75 x 55 cm big.
© 2016 Christopher Baumanns Bilder - All rights reserved