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Artists CV    artwork
Sturmius Wittschier





Sturmius Wittschier

Born 1945 in Bamberg, Germany and raised in Cologne, Germany. From 1970 until 1987 University Lecturer for Theology and Arts. Since 1988 Psychoanalyst in Zurich, Switzerland. Since 1995 working on Fine Arts, theater and literature, freelance artist.

Quite late, at the age of 56, I started painting. Since then it wouldn't let go of me and inspirations guided me but as well a close network of befriended painters. Looking backwards I have to say: I love Cycles which evolve and sometimes again clear away. And I am in search of struggling with the matter and in particular with the fractious one.

Various Exhibitions in Switzerland (Zurich, Steckborn),Cuba, London


MY PRIMARY CONCERNS

Matter

What is matter about from which the whole cosmos, Planet Earth and the whole life on Earth is being made of? I don't know.
I only know that they appear in the most beautiful and most disastrous way and often in a mixture of both.

Struggle with the matter

I would like to express my affright and my fascination on the matter: The unbelievable legality on one side and the furious and excessive processes on the other side. Like the shining colorfulness opposite to the grey desert and black emptiness. Like the structures on the surface and the shudder of the deep.
The more fractious and worthless the matter appears the more I feel challenged. Actually I consider me challenged to create it in such a way that it fits in and is meaningful.


The Picture of the Angel and the guiding principle
The Picture of the Angel is an ancient motive about the creation of art and its impact. The ancients thought: Art is being inspired through „another world“, e.g. the Angel’s one. Artwork itself was considered as the messengers like the Angels itself. Even if the art appeared of being terrifying: „Every Angel is terrifying. “ (Rainer Maria Rilke) This applies for every single art.

Miniatures

I have started in 1992 with the first miniatures - very small arrangements of ordinary waste often worked on with a pair of tweezers. More than the half of about one hundred miniatures found their way to buyers, friends and relatives.

Small Cherubs

Within the cycle "Small Cherubs" (2000-2010) I tried during an first phase with pastel chalk - another kind of matter - to make perceptible a pair of eyes. It is the recollection of my childhood where we once elicited eyes and figures out of the matter (e.g. from structures on a wall paper). There were 2005 sixteen pictures. In the meantime I overworked and added them with new ones.


Heads

The cycle "Heads" (1999-2008) consisted of 30 variations and demonstrated the connectivity between Acryl and pastel chalk. I considered them as important studies, which I worked over several times. The better ones found the way to friends and buyers.

Windmills

While I was creating the cycle "Windmills" (1999-2006) with about twenty-one paintings it realized in particular my struggle with the opposing matter.

Small Quadrates

Again and again I have featured small quadrates (16 x 16 cm). The strict and consistent form was important to me. During 2011 accrueded a new series.


Holocaust

Almost only with pastel chalk the "Holocaust Cycle"(2003 - 2007) is being painted: On five similar copies of the head of Jesus from Rembrandt I literally managed the transformation of our matter towards death.

Cosmos I

Since 2006 the informal series "Cherubs-Jacob's ladder-World Tree" (=Cosmos I) evolved and inspired by Cherub visions of modern female poets and in particular through the poem "Und Metatron" from Nelly Sachs


Cosmos II

Since February 2011 I have started with the series "Cosmos II" in which, above all, I want to get closer to the uncanniness of the cosmic.

Painting in bigger formats
Each pictures in bigger formats (as from 2006) demonstrate the struggle with the matter of the unmanageable. Sanded or rasped wood interchanges with bits and pieces of most different kind. This struggle is more important to me than the different motives (e.g. Burning Gate, Theatre, Dancer etc.).

Work towards Three-Dimensions
From the struggle with the matter other work came into existence which moved towards Three-Dimensions.
Compostions
As from 2010 onwards and from the mixture of Oil and Acryl “Compositions” developed. Surprise and coincidence play an important role: How may the different fluids move unforeseeable into each other? And when and how I must interfere?

Conclusion
Whenever the matter appears more unbelievable, more strange, more spiritual, or in other words: more unmanageable, I get closer to my own identity. We are all made of the same.

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