Ivo Krys - from the expression of liveliness - guner long between moments, movements and line flow

About living artists: writing inside is always a grateful matter. As an author: You don't have to specy much in whether he or she knew this and that to inspire himself, but learn a lot about your way of working and thinking in personal interviews. Artist: In and Author: Working together on a text.

In the following, the artistic examination of the body and movement of the artist Gunter Langer , born in 1950, has accumulated a huge oeuvre.

Whether the pictures of Gunter hang on the wall, or remain on base, the motifs still have the moment of movement.

The movement is - owed to the medium - in the picture, but the figure itself does not appear rigid because it asks us to think of her movement or possibly present the beginning of movement.

So the figure in us sets something in motion - activates us. This moving can be identified unmistakably on the artist's approach, which is not located - in the worst case - to map lovelessly practiced and motionless poses, which hopefully are being staged artistically in their uncomfortable.

For a long time, that in between, that is, that moment in the middle of the emerging and frozen movement-between not even and fully ended.

This is the expression of the liveliness, which makes the moment noticeably alive. So the human body is particularly interesting with its countless movement options for a long time.

The human body not only enables him to experience movements. Especially the movement, the wise how an individual moves in certain situations, unfolds its presence.

Langer tracks down this presence and describes it with the means of his artistic translation.

Short moments of movement

They are interactive-phemere moments between the artist and model-his model-that have to decay again and again at their climax, in order to then arise again on a new one so that the movement in their liveliness comes into its own. Despite their targeted repetitions, there are always rare moments that are unique every time.

Only a deep experience of this liveliness, an increasingly finer feeling of these moments, enables the successful translation into a work of art that adopt part of this liveliness. Last but not least, the philosopher Markus Gabriel would say the power of art.

From a long point of view, the rigid-decorated posing should take a back seat and make room for the lively and spontaneous moment that gives the presence of the model its unique expression at all; One would also say: in the first place forms its different character traits and brings out.

This to be brought up to be clear, one looks at Langer's approach to producing works of art more precisely. With the help of the photo camera, Langer records these fleeting moments. The short shutter speed of the camera makes it visible, which mostly escapes the naked eye. Short moments in which the model imperceptibly reveals the veil, which shows the undisguised character before it hides again behind a "skilful" pose.

Technical aids have always been an expansion of the artist view. In this case, Langer enables the photo camera to take several images a second, which enables it to beat the time. With her he shortens the duration of the observation; It enables him to see exactly what is important to him.

The photo taken is only the first step, a sketch. Longer, as a passionate painter and draftsman, prevents the model with his photo sketch, which would at some point - would draw the model opposite him. From his own experience, he knows that the duration here is too long and responsible for destroying any movement spontaneity.

The technical aid shortens the duration. Together with the models, Langer evaluates the photo sketches and - if necessary - develops improvements in the movements with them. Finally, only those in which the expression of the model, its movement sequence and the uniqueness of the moment form a harmonious unit are selected from the countless photo sketches.

 

Action is translation and translation is action

Based on the photo sketch - which only serves as a mission statement - the translation into another medium is created in the studio that gives a long new possibilities at hand. In general, the translation - from one medium to the other - stands for the actual artist story: the observation is internalized in a internal manner, this internalization translated into a statement.

Visible and invisible, active and passive; An interplay of opposites, which, through constant transformation in the other, repeatedly arise in the opposite. This interplay, more visible and invisible, passive and active action, manifests itself primarily in its line. It is the final artistic statement that, in other media, enables further artistic expression.

The line pulled by hand on paper is a long passion. The internalization of the observation - and the resulting image - is decisive for the line that the line can be freely pulled through, whereby entire parts of the motif always arise from one movement. Rigid drawing is therefore far away: for a long time it is not about the mere drawing copy of the mission statement; Because this only leads the spiritual picture.

The internalization lies the lightness of not disorting the lines in advance, thus preserving their spontaneity and its inherent looseness and liveliness - almost the right to freedom of the line per se. In the plan to create a picture, long -term lines are also concerned with the direct comparison of his translation performance, whether - due to its concentrated observation - this was successful in the drawing or got his hand on paper.

The drawing is the possibility of reducing pre or guiding principles, emphasizing detailed observations, specifically expanding information, omitting and/ or alienating.

The quality of the artist's translation performance is then evident in maintaining the liveliness of the movement as well as the expression and the character traits of the model contained in the artistic work, only giving them a new form that, one way or the other, cannot be avoided.

Langer's photo sketch is in no way inferior to the classic-drawn sketch; This also only serves to store information to implement it in a composition. Dealing with the composition finding depends on the front or model.

As a two -dimensional picture, the photo sketch is already a reduction in the model. His understanding of the depth of the body draws a long time from the classic model drawing.

Depending on the possibility, Langer uses both, which is determined by the approach to the picture, with regard to closeness and distance. This relationship with the model- whether now as a pre-or model- determines how to find the composition.

The experience in the use of pen and paper as well as working with color or sound, shaping and expanding the compositional area, dealing with movement as an artistic task and leaving your very own traces in being an artist.

In the flow of experience

The creative examination of different tasks is particularly attractive because experience experiences can be made on different levels. For Langer, the experience that-under ideal conditions-results in the line flow, is nevertheless a flow experience.

When dealing with a creative task, this creates a balance between the creative, its concentration and its awareness of the task. This balance ensures increasing complexity and understanding when performing an activity, and creates its own - in this case artistic - system.

As the psychologist Mihály Csíkszentmihályi makes clear, this balance enables a flow experience, in which it is found in it an optimal middle ground, between over and under-demanding the task. Langer's self -confidence of being able to pull his line consistently arises from numerous flow experiences that shape his existence as an artist.

As daily practice, the processes of observing, internalizing and creating are indispensable. These processes can be felt the liveliness of his artist's existence, which in the tasks against mirrors t, and by practicing every day, he connects with the world and vice versa.

Finding solutions for its tasks is therefore enormous. These experiences of being, which are made in dealing with the material, are long artistic clashes with his environment and thereby shaping them.

The collapse of the processes as an image

In these clashes, the outside world merges with Langer's internalization, which, through emotional movement, finds its statement in the artistic work, which comes into the world as an image in order to communicate with it in its liveliness. The image as a work of art visualizes the Ephemer-visible and invisible-physical and mental-movements of the artist's action.

In the image, the artist's action remains, but visibly encoded, preserved and embodied all translation processes as well as the emotional movement of the artist.

The line, in Langers, specifies a path or river. It captures the view, which, following the line, no longer acts freely on the leaf, since the line, in its creation, claimed all freedom. We are dependent on your direction to try to understand the movement - not only that of the person depicted, but also the artist.

The line penetrates our imagination as an image of all of these movements and symbolizes thoughts about limits and freedom. In the game of the opposites, the artwork is not only an experience for the artist, but also for us who testify to the images.