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Artist Statement
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My work is about an abstract explorations of human mood and personality. I use assemblage and paint as tools to engage the viewer.
I like to explore, invent, discover the new and unknown and share it with others. I want people to be absorbed by the pieces, capture their attention while creating a new experience for them. The idea for pieces comes form an accumulation of life experiences at that moment. Color attracts me as well as materials like wood, stone, concrete and steel. People inspire me, especially their reaction to my art. Somehow all these influences get processed through me and I reflect it in an abstract way. I was always attracted to abstract art; I think it gives me the freedom to express myself. Wassily Kandinsky, one of the forefathers of abstract art believed that “abstraction is the pictorial language of the future, that it all communicate true about the human spirit (Frank Whitford’s comment). I have been influenced by modern art especially by abstract expressionists, lately by minimalism. I enjoy work of many artists, especially Donald Judd, Richard Serra, Tony Smith, Yves Kline, Ellsworth Kelly, Sol LeWitt, Mark Rothko, Trevor Bell and many others. I often contemplate why I have created a piece in certain way. Why it ended like that? I think combination of a concentrated experience and energy of that moment defines the piece. There is a right moment for every piece to be created, if I try to change it later, the painting is about something else; each moment is different and cannot be repeated. Past cannot be brought to the present therefore each pieces is defined a specific moment in my life. Most recently I have embraced the fact that I like to make jewelry and fit it into my artist’s repertoire. Jewelry pieces are small sculptures and I like the fact that people can actually wear it carry it around. I feel that they generate an interaction between a person wear it and other person viewing it…people get engaged, its is art without gallery walls. I like the element of bringing art into different spaces, situations, to different people. For me, jewelry is one of the ways. --Helena Kocis 1 step by step instructions 1 course: Metamorphosis Course leader: Gabriele Musebrink 1 created by Susanne Rolla / Geistreich.academy 2 Which material do I need? - Stable canvas 50 x 50 cm - marble powder white Italian very fine - caparol binder (acrylic binder) - sump lime - acrylic emulsion K9 from Kremer - walnut stain - walnut stain granulate sap brown - hematite sand - pigment Kassler brown - pigment chromium oxide hydrate green - pigment zinc white - pigment Hokkaitido orange - pigment Hokkaitido orange - Copper blue pigment and Indigo pigment - Champagne chalk - Spirit - Feldmanns egg tempera - Metal Japanese spatula - Flat brush with short and long synthetic bristles 80mm - Squeegee 50 cm wide and a paint spatula - Viscose sponge - Water syringe - Glass runner 3 Preparatory work Prepare the two textures: 1. Marble flour with acrylic binder (Caparol) (mixing ratio: mix 2 parts MM and 1 part AB to form a firm batter) 2. Sump lime, marble powder and sintering water (mixing ratio: 1 part SK and 1 part MM + sintering water to make a quark-like mixture) Prepare the painting process for the canvas Moisten the canvas well from behind. Application of the structural compounds - Apply the marble powder structural compound to the canvas with the spatula and draw it with the wide squeegee. Also leave vacancies. - Clean the squeegee immediately. - Apply the slaked lime-marble powder structure compound with the squeegee over the marble powder structure compound. - Moisten the squeegee and pull it over the structure applications. - Let the orders stand with different thicknesses. - The work must now dry for 24 to 48 hours 4 Tip: For this reason too, work on several tasks at the same time. Picturesque securing - Moisten the back wall of the canvas well again so that it is well stretched. - Put on gloves and put the mixture of acrylic emulsion K9 with water and sintered water on the dried canvas. (Mixing ratio: 1 part of K9 to 2 parts of water and 1 part of sintered water) Some of the liquid seeps in, but it must remain on top as a liquid. - Pour a few drops of poppy seed oil on the mixture and weigh the picture until the poppy seed oil is spread over the picture. (Has the task of helping the colors to get into the small depressions) Applying stain - Pour walnut stain into the liquid. - Spread the stain with the water syringe. - Weigh the picture. - Pour the K9 mixture on the picture again. - Spray water on the job again. Color application sap brown - Apply a few grains of sap brown partially to the canvas. - Spray them with water. 5 - Weigh the canvas back and forth. Hematite sand application of paint - Apply hematite sand to the edge of the Japanese spatula and partially blow the hematite sand onto the canvas. (Has the task of connecting the space) Color application Kassler brown - Apply the pigment Kassler brown to the edge of the spatula and blow it partially onto the canvas. (Has the task of focusing) - Spray the Kassler brown with the alcohol-water mixture and partially dissolve it. (The mixing ratio is approx. 6 parts spirit and 4 parts water) Let the picture dry for 3-4 hours. (Has the task of creating connections in the picture and getting the structures out) - Moisten a wide brush with synthetic bristles with water and apply the green paint partially to the canvas. - Work sometimes glazing and sometimes covering. 6 Application of paint - applied paint application with a brush - Mix the zinc white pigment with a little water and egg tempera to form a smooth color paste. Use your fingers for this. - Apply the white paint with a flat brush with longer synthetic bristles. - Go over the whole picture. - Let the paint take on a little. - Go back to work partially with the white paint application. (Has the task of erasing the colors and leaving deposits in parts of the canvas) Note: Color glazes and pigment deposits alternate. This is decided by the painting process. Color application with Hokkaido orange pigment - Mix the Hokkaido orange pigment with a little egg tempera to form a smooth color paste. Moisten the brush with water and partially distribute the color on the work. - Use a damp viscose sponge to partially remove the pigment. Color removal - Apply more translucent orange layers and then remove them with the sponge. 7 Color application with Vivianite pigment - Mix the Vivianite pigment with egg tempera to form a smooth colored paste. Add water and pour the liquid paint onto the canvas. - Weigh and turn the canvas back and forth until the liquid paint has flowed into the veins or cracks in the structural compounds. - Blow-dry your work a little. Color application with copper blue pigment - Mix the copper blue pigment with egg tempera to form a smooth color paste. Add water and stir well with your fingers. - Apply the liquid paint with the brush. - Weigh and turn the canvas back and forth until the paint has run into the cracks. - Repeat the process until you are satisfied with the result. - Work on some areas with the brush. - Place a block under the canvas so that the paint is directed. - If the pigment has sagged, pour the excess water off the canvas and let the work dry. - Place the dried work on an easel and look at it from a distance. 8 Color application - Color glaze with champagne chalk - Mix champagne chalk with egg tempera to form a smooth color dough. - Apply the paint with a wide brush. - Repeat this highly translucent application of paint until you are satisfied with the result. - Briefly blow dry the individual layers. Color application with Hokkaido orange pigment - Mix the Hokkaido orange pigment with egg tempera to form a smooth color paste. - Moisten the brush with water and apply the paint in some places in the picture. - Every now and then, put the picture on the easel and look at it from a distance. Color application - pouring in with pigment indigo - mix the pigment indigo with egg tempera and water to a liquid color. - Pour them in a bow on the canvas. - Spray the embankment with the water syringe. - Weigh the canvas back and forth until the paint has run into the indentations. - Place blocks under the canvas on one side and control the gradient. 9 - Blow dry the work almost dry. - Place the work on the easel and take your time to look at it. Continue working with color applications and removals until you are satisfied with the result. We wish you a lot of success and fun Susanne and Steffen Rolla - Weigh the canvas back and forth until the paint has run into the indentations. - Place blocks under the canvas on one side and control the gradient. 9 - Blow dry the work almost dry. - Place the work on the easel and take your time to look at it. Continue working with color applications and removals until you are satisfied with the result. We wish you a lot of success and fun Susanne and Steffen Rolla - Weigh the canvas back and forth until the paint has run into the indentations. - Place blocks under the canvas on one side and control the gradient. 9 - Blow dry the work almost dry. - Place the work on the easel and take your time to look at it. Continue working with color applications and removals until you are satisfied with the result. We wish you a lot of success and fun Susanne and Steffen Rolla
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