Ferroprints (English)

For 2 months I work on a new series of pictures (Visual Universes), with the help of a new technology, which I call ferroprint (ferrous print). I procured myself lately at an obvious scrap iron place with metal parts, which had partially already rusted. With the selection of these metal parts I made certain that they were as flat as possible and I looked for different forms. In my studio I use the same handmade paper for my etchings. I put this paper into a photo tub and selected the metal parts, with which I wanted to produce a casting on the paper. After the composition was finished I have distributed tea, coffee or/and vinegar on the sheet and under the metal parts. Importantly here it is that the sides of the copper printing paper are easily increased by borders, so that the liquid cannot flow off. Then I distributed either water-colors liquid over the sheet or with Caparol binder mixed powder colors. With the selection of the colors is to be considered, that they can flow and can forme their own structures. One can raise the metal parts still briefly, in order to be sure that the colors arrive also under the metal parts. Subsequently, they are weighted by other iron parts. Over night now the acid of the tea, coffee or the vinegar (best vinegar essence is suitable) affects the iron, so that increases rust forms. One leaves the work so for a long time in the color liquid, until this becomes slowly drying. Before this is however the case, one should remove in time the metal parts, so that they do not stick on the paper and when taking the metal parts off hurt the paper. "Intuitive feeling" is requires when taking away the iron parts. On the sheet one can see now the castings of the metal parts clearly. Further work on the sheet is now possible by collage, brush or other means.

Visual Universes (comentary)
The pictures of the series of "Visual Universes" are not cribbed from material illustrations of nature or the universe, but to the most diverse shaping and form drawing replacement processes of nature. Nature has helped to "paint" this pictures. For example the emergence produced completely own natureful structures, which could be pictorial never painted in such a way the metal parts presented by rust. Developed partially illusionistic spatial effects, which were strengthened with some pictures still by glued on pictorial material, how also seizable material effects particularly with the surface textures, which can seize and/or be experienced in the full sense of the word haptic. In addition, geometrical precise forms have their place in this series, which were printed by the presented metal parts. Tears and interesting cracks (German: Krakelee, French: craquelé, English: cracked?) are formed with the drying process. The representation of nature processes with these pictures is from timeless topicality. So, as there is in nature however nothing, what repeats itself accurately identically, then resembles in the series of "Visual Universes" no structure with another. The first part of the series has still partially realistic motives, which are surrealistic or sciencefiction. The last part of the series is done without realistic motives and takes effect purely by forms and colors. One approaches automatically more near to the picture, in order to go on a discovery journey: Which hides itself behind these sensitive structures and the rhythm. As the weights are distributed on the surface and in the gaps of the individual forms. Some pictures I supported the developed inner forms by black color, so that the interesting lines, which nature gave, were emphasized. One can call this work method coincidence with calculation. As my shining example Max Ernst, who affected me time of my life very much, I have also used nature in my frottages, decalcomanies, imprimiturs, collages, ferroprints and other evocative picture procedures.