" Who Squares ? " an imagenistic homage to Kazimir Malevich and Josef Albers by Paul Rolans

"In 1915, Malevich laid down the foundations of Suprematism when he published his manifesto From Cubism to Suprematism. In 1915--1916 he worked with other Suprematist artists in a peasant/artisan co-operative in Skoptsi and Verbovka village. In 1916--1917 he participated in exhibitions of the Jack of Diamonds group in Moscow together with Nathan Altman, David Burliuk and A. Ekster, The most amous examples of his Suprematist work is the Black Square .The first Black Square was painted in 1915 and became the turning point in the development of Russian avant-garde. (From Wikipedia)
Malevich: "When, in the year 1913, in my desperate attempt to free art from the ballast of objectivity, I took refuge in the square form and exhibited a picture which consisted of nothing more than a black square on a white field, the critics and, along with them, the public sighed, "Everything which we loved is lost. We are in a desert... Before us is nothing but a black square on a white background!"
"But this desert is filled with the spirit of nonobjective sensation which pervades everything."

Homage to the Square by Josef Albers

"Accomplished as a designer, photographer, typographer, printmaker and poet, Albers is best remembered for his work as an abstract painter and theorist. He favored a very disciplined approach to composition. Most famous of all are the hundreds of paintings and prints that make up the series Homage to the Square. In this rigorous series, begun in 1949, Albers explored chromatic interactions with nested squares. The optical effects Albers created—shimmering color contrasts and the illusion of receding and advancing planes—were meant not so much to deceive the eye as to challenge the viewer's faculties of visual reception. This shift in emphasis from perception willed by the artist to reception engineered by the viewer is the philosophical root of the Homage to the Square series. Albers tried to teach the mechanics of vision and show even the uninformed viewer how to see." (Cornelia Lauf and Wikipedia)

"Vivid Colors, the intergalactic troubadour, celebrates the discovery of HD 40307g with an illustrious Colorado"

Herald Sun 10 november 2012
"A NEWLY discovered alien planet seven times bigger than Earth may be able to support life, astronomers wrote in a study.
The planet, dubbed HD 40307g, is one of only a few to be discovered in the "habitable zone": a sweet spot, neither too close or too far from its sun, where liquid water could exist,  the team of international astronomers, led by Mikko Tuomi, University of Hertfordshire, England, and Guillem Anglada-Escude, University of Goettingen, Germany, wrote in the journal, Astronomy and Astrophysics.
The so-called "super-Earth" orbits its star - HD 40307, a dwarf just slightly smaller, cooler and less bright than our sun - every 200 days.
It is relatively close to the solar-system neighbourhood, just 42 light years away. A light year is equivalent to about 9460 billion kilometres.
"The star HD 40307 is a perfectly quiet old dwarf star, so there is no reason why such a planet could not sustain an Earth-like climate,'' said astronomer Guillem Anglada-Escude of the University of Goettingen in Germany.
The next step is to use powerful telescopes to study the planet more closely.
A large number of observations will be necessary to confirm any other similarities with Earth, the astronomers said.
The study noted that the distance between the planet and its star is similar to that between the Earth and the sun and that it is likely the planet rotates on its axis, which would create a day and night cycle like ours.
So far, some 846 planets have been found outside our solar system since 1995, using high-powered equipment, most notably the Kepler telescope, launched in March 2009 to search for Earth-like planets.
Most of the discoveries are of planets far larger than Earth."

The Daily Telegraph2012-11-08: A ''super-Earth'' that could have a life-supporting climate has been discovered in a multi-world solar system 42 light years from the Sun. Photo: Nasa 1:04PM GMT 08 Nov 2012 A ''super-Earth'' that could have a life-supporting climate has been discovered in a multi-world solar system 42 light years from the Sun. The planet, which is several times more massive than the Earth, lies just the right distance from its star to allow the existence of liquid surface water. It orbits well within the star's ''habitable'' or ''Goldilocks'' zone - the region where temperatures are neither too hot nor too cold to sustain life.... more »

Astronomers Discover Potentially Habitable 'Super Earth' 42 Light Years Away2012-11-08

US News Planet could be close enough to observe with conventional telescopes Scientists say they've detected a planet that could have life just 42 light-years from earth—close enough so that astronomers might someday be able to directly observe it through a telescope. [READ: NASA Observes Record-Setting Gas Storm on Saturn] The "super Earth" is about seven times...            

New super-Earth that may be just right to support life found in six-planet system2012-11-08

Newstrack India Tweet Washington, November 8 (ANI): A new super-Earth planet that may have an Earth-like climate and be just right to support life has been discovered around a nearby star. An international team of astronomers led by Mikko Tuomi, University of Hertfordshire, and Guillem Anglada-Escude, University of Goettingen made the discovery. The new super-Earth planet exists in the...

Astronomers find tantalizing hints of a potentially habitable exoplanet2012-11-08

PhysOrg HARPS (High Accuracy Radial velocity Planet Searcher) on ESO's La Silla 3.6m telescope is a dedicated exoplanet hunter, able to detect the oh-so-slight wobble of a star caused by the gravitational tug of orbiting planets. Led by Mikko Tuomi of the UK's University of Hertfordshire Centre for Astrophysics Research, a team of researchers reviewed publicly-available data from HARPS...            

Super-Earth in six-planet system just right to support life2012-11-08

The Hindu Astronomers have discovered a new super-Earth planet around a nearby star that may have an Earth-like climate and be just right to support life. The new planet exists in the habitable zone of a nearby star and is part of a six-planet system. The system was previously thought to contain three planets in orbits too close to the star to support liquid water. By avoiding fake...            

Super-Earth practically next door could be habitable2012-11-08

CNET You may think this planet is overpopulated or you may just be sick of the partisan politics. In either case, HD 40307g is an attractive getaway. by Less than 100 light years away, the new super-Earth could have fantastic beachfront properties. (Credit: Video screenshot by Tim Hornyak/CNET) It's only 42 light years away, it could have liquid water, and it's more than seven times...

Lonely 'homeless' planet found for the first time2012-11-14

The Daily Telegraph A young “homeless planet”, up to seven times the size of Jupiter and with no gravitational ties, has been spotted by scientists for the very first time. This Nasa illustration shows at night just before the predicted merger between our Milky Way galaxy and the neighbouring Andromeda galaxy, which is expected to happen about 3.75 billion years from now Photo:...

New super-Earth that may be just right to support life found2012-11-08

Zeenews London: Astronomers have discovered a new super-Earth planet around a nearby star that may have an Earth-like climate and be just right to support life. The new planet exists in the habitable zone of a nearby star and is part of a six-planet system. The system was previously thought to contain three planets in orbits too close to the star to support liquid water. By avoiding...

Earth’s twin found 42 light years from the Sun2012-11-09

Belfast Telegraph A ‘super-Earth’ that could have a life-supporting climate has been discovered in a multi-world solar system 42 light years from the Sun. The planet, which is several times more massive...            

 

Andreas Gursky : Alles im Fluss / Paul Rolans: Alles im Fluss

Alles im Fluss so lautet der Überschrift eines Zeitungsartikels  von Andreas Rossmann in der FAZ vom 25.10.2012 ,anlässlich der Ausstellung von Andreas Gursky im Düsseldorfer Museum Kunstpalast.
Hier ein Abschnitt über Andreas Gurskys Serie "Bangkok"  und „Ocean“ und danach einige Beispiele aus meinem Fotoprojekt "Images in Water" woran ich seit 2003 kontinuierlich arbeite und das ich in 2007 zum ersten Mal ausgestellt habe:
„Auch„Bangkok“, die neueste, 2011 entstandene Fotoserie von Andreas Gursky, glänzt. Was „Bangkok“, neun große Hochformate, je gut drei auf gut zwei Meter, mit Bangkok zu tun hat, erschließt sich optisch nicht, denn Bangkok wird auf„Bangkok“ nicht erkennbar. Kein Palast und kein Buddha, nur Wasser, und das uferlos, mit Lichtstreifen oder Lichtmosaiken, die der dunkle, unruhige Grund zurückwirft, mal als gezackte, gleißende Vertikale, deren grauer Schatten und orangefarbener Reflex parallel laufen, mal als amorphe, scheinbar fliegende Flecken. Der Grund ist schwarzweiß, dazwischen wimmeln kleine bunte, dunkelgelbe, türkis- und rosafarbene Punkte und Einsprengsel.
Von der Stadt ist nichts zu sehen, nur der Fluss Chao Phraya, der sich finster und schwerfällig durch sie wälzt und sie, so suggeriert der Titel „Bangkok“,ganz in sich aufgenommen hat. Wie andere Flüsse in anderen Megacitys führt er Unrat mit sich: Abfall und Astwerk, einen Autoreifen, eine Plastikflasche und ein Präservativ, Zeitungs- und auch Blütenblätter - Zivilisationsmüll, aber nicht als Mahlstrom, sondern in einzelnen Schnipseln. Schwarz ist das Wasser, aber fließt es wirklich? Es könnte auch Lava oder Teer, Öl oder Schlick sein. Abwasser. Sauber sieht anders aus.
Der Fluss reflektiert, quecksilbrig und unruhig. Die Oberfläche täuscht, ein Verblendungszusammenhang. Ist es die Sonne oder ein Scheinwerfer, der den Fluss anstrahlt? Was die Stadt nicht mehr braucht und ausstößt, wird vom Chao Phraya aufgenommen, mitgeschoben. „Alles im Fluss“ erhält einen doppelten Sinn. Hauptverkehrsader und ökologische Katastrophe, selbst glänzend und die Kehrseite des Glanzes.
Der Fluss ist, wie ihn diese Fotos darstellen, auch schön - und das ganz vordergründig und banal: Wie Lampions liegen und wippen die Lichter auf dem Wasser. Gursky hat die Fotos am Computer bearbeitet, nachgeschönt? Ihre Schönheit schärft ihren Schrecken. Nie war Gurskys Kunst der abstrakten Malerei- Mark Rothko, Barnett Newman, Clyfford Still, Ellsworth Kelly, auch Cy Twombly und Gerhard Richter - so nah.
Die „Bangkok“-Serie folgt den sechs „Ocean“-Bildern, die Gursky 2010 an die Grenzen des Darstellbaren führten: Mehr Welt, und das in quantitativem Sinn, als in diesen digital behandelten Satellitenbildern lässt sich auf einer Fotografie nicht erfassen. Auf einem von ihnen ragen Madagaskar, die Spitze der indischen Halbinsel, Sumatra und Westaustralien wie Fragmente in den riesigen, in vielen Tiefen blau ruhenden Ozean.“
Wer Andreas Gurskys Kunst begegnen will, muss sich ins Museum begeben. Im Katalog sind - nicht nur - die „Bangkok“-Fotos nicht groß genug, um ihren Charakter als Suchbilder ausspielen zu können und etwa die dümpelnden Abfallstücke erkennen zu lassen. Der Fotograf, der mit Aufnahmen von Jackson-Pollock-Bildern oder Ausschnitten aus Gemälden eines John Constable oder Vincent van Gogh die Malerei en detail reproduziert, verweigert sich der Reproduzierbarkeit:
Auch das ist ein Versuch Gurskys, der seine Bildfindungen digital „ausarbeitet und präzisiert“, sich von der klassischen Fotografie zu lösen und der Malerei anzunähern - als hätte sie sich nicht längst von ihr emanzipiert und es immer noch nötig, die Konkurrenz mit ihr aufzunehmen und ihren eigenen Kunstcharakter unter Beweis zu stellen."
Ich arbeite bereits seit 16 Jahren´auf diese Weise. Damals habe ich mein erstes großes Fotoprojekt "Bilder in Bäumen" / "Images in Trees" vorgestellt.

Hier folgen einige Videos von meiner Ausstellung „Alles im Fluss“ aus 2008:

"Vivid Colors and The Infinite Pictorial Space" by Paul Rolans - The Imagenist

Vivid Colors plays prismatic improvisations over the harmonies of the double rainbow
and creates The Infinite Pictorial Space and exciting new worlds in the optical spectrum of light.

 

I ´ve made this slideshow on the occasion of the exhibition "Im Farbenrausch" - Munch,Matisse und die Expressionisten, at the Folkwang Museum in Essen.

I would also like to refer to the exhibition  "Color Chart: Reinventing Color, 1950 to Today"
at the MoMa in New York in 2008.

Color Chart celebrates a paradox: the lush beauty that results when contemporary artists assign color decisions to chance, readymade source, or arbitrary system. Midway through the twentieth century, long-held convictions regarding the spiritual truth or scientific validity of particular colors gave way to an excitement about color as a mass-produced and standardized commercial product. The Romantic quest for personal expression instead became Andy Warhol's "I want to be a machine;" the artistry of mixing pigments was eclipsed by Frank Stella's "Straight out of the can; it can't get better than that." Color Chart is the first major exhibition devoted to this pivotal transformation, featuring work by some forty artists ranging from Ellsworth Kelly and Gerhard Richter to Sherrie Levine and Damien Hirst. (from the MoMa website)

Organized by Ann Temkin, Curator, Department of Painting and Sculpture, The Museum of Modern Art

               

"Images in the Chairs" by Paul Rolans, an imagenistic reaction on "Man on the Chairs" by He Xiangyu

 

As I visited the Art Cologne this year, I saw the installation "Man on the Chairs" by He Xiangyu,who exhibited at the Alexander Ochs Galleries Berlin Beijing. As an artist and specialist wood photographer with an eye for details, I was excited. I returned the next day with my camera and worked the whole afternoon. I found a universe of images, hidden in the chairs

HE XIANGYU | MAN ON THE CHAIRS

White Space Beijing & Alexander Ochs Galleries Berlin Beijing

“Man on the Chairs”, a piece of recent work of young artist He Xiangyu, goes on his multiple attitudes and judgments to the “object” in his famous work “The Coca Cola Project” – there is not only the emphasis on life experience, but also the insight into social system, and the evaluation of the power of language after the form of the “object” changes. In this new piece, the ancient round wood aqueduct abandoned by Yunnan mountaineers is dismantled and reassembled into more than one hundred chairs by the artist, and these “everyday” objects which symbolize time and tradition will occupy the entire exhibition space. The artist will create a supernatural poetic space in the exhibition hall based on them, and there will be a dancer performing contextual body language on the chairs. At the meanwhile, the viewers, being personally on the scene, can step into the exhibition space and walk among the chairs and experience the highness of nature, the realization of life and the absurdity of the act, and further find out the current view in the work “Man on the Chairs” and its attention and introspection into “the state of being” beyond time and space. Here is some information about it Read more and even more
He Xiangyu ist einer der chinesischen Gastkünstler auf der ArtCologne 2012 in Köln. Mit seinen jungen Jahren ist er schon einer der gefragtesten chinesischen Künstler.

"Man on the Chairs", ist ein Teil der jüngsten Arbeiten des jungen Künstlers. Für dieses Kunstprojekt, „Man of chairs“, sammelte er Holzteile eines ehemaligen Wasserkanals und lies sie nach Peking bringen. Dort arbeitete er dieses Holz zu den charismatischen Stühlen um.
Selbstverständlich können die Betrachter des Kunstwerkes auch erfahren, was es heißt, auf diesen Stühlen zu sitzen. Sie können die Hoheit der Natur, die Erkenntnis des Lebens und die Absurdität der Handlung am eigenen Körper spüren und auf sich wirken lassen.
Seine Großprojekte basieren auf der Herstellung neuer Zusammenhänge durch die Wandlung von Materialien. Lesen Sie mehr

"Turner and the Elements" and "Images in the Elements" by Paul Rolans

William Turner is one of my favorite artists.Truly ahead of his time.I made this video on the occasion of the exhibition at The Bucerius Kunst Forum in Hamburg

Turner and the Elements

"William Turner was known to his contemporaries as “the painter of light”. In his landscape paintings he created new, unusual combinations of earth, air, fire and water and closely examined their interactions. His lifelong observations of the natural world gave him fundamental insight into the truth of nature and supported his increasing fascination with the fusion of the elements. Turner’s vision of elements merged together by the forces of nature was closely linked to contemporary research in the natural sciences. This exhibition brings together around 85 works from the Tate Gallery in London and other collections from Britain and the USA. The five subject areas, Earth, Air, Fire, Water and Fusion illustrate the development of Turner’s landscape paintings over a period of many years and show how his painting technique, which blends shapes and elements together, was influenced by the latest scientific discoveries. Hamburg is the first location for this exhibition, which has been designed by the Bucerius Kunst Forum. Subsequently, it will travel to the National Museum in Krakow and then be shown at the newly opened Turner Contemporary in Margate, England."

Read and see more on: http://www.kunstmeile-hamburg.de/en/william-turner.-painter-of-elements

"Udo Lindenberg malt eine Likörelle für seine Fans in Köln" von Paul Rolans -The Imagenist

"Thanxxl Kölle - Panik-Rekord-Stadt  - Euer Udo" , so signierte Udo Lindenberg die Likörelle die er für seine Fans in Köln vor dem Hyatt Hotel, mit Blick auf Dom, Rhein und Altstadt gemacht hat.Ein Open Air Event der Extra Klasse. Ich kam gerade vorbei und hatte "zufällig" meine Kamera dabei.... Hier ist die Pop Art Version.

 

In Focus: The Tree at the J.Paul Getty Museum / „Images in Trees“ by Paul Rolans

Anlässlich der Ausstellung In Focus: The Tree im J.Paul Getty Museum, möchte ich hier auf meine Fotoserie „Images in Trees“ aufmerksam machen.
Schauen Sie auf  “Images in Trees” – Archive
Ich arbeite seit 1995 an dieser Serie. Ich fühle mich wie auf einer Entdeckungsreise, die noch lange nicht zu Ende ist und auf der ich immer feinere Details in Bäumen wahrnehme. Meine erste Ausstellung mit diesen Bildern hatte ich in 1996 in der Humboldt Universität in Berlin.

Alexander von Humboldt, der Bruder von Wilhelm, war auch ein Forscher und Entdecker und brachte viele Schätze von seiner fünfjährigen Entdeckungsreise durch Süd-Amerika mit zurück nach Deutschland.
Einige Beispiele aus meiner Fotoserie „Images in Trees“ finden Sie hier und hier
In 1996 I showed my pictures at the Photokina in Cologne here is an article in the Magazine Photopresse about it.
In 1997 I have had an exhibition at the Federal Ministry of the Environment, Bonn. Mrs.Angela Merkel held the opening speech at the vernissage. In the same year I have been commisioned by the Federal Ministry for Food, Agriculture and Forestry to participate in compiling a photowall on the theme „Forest/Wood“ for the EXPO 2000 in Hannover.
En 2001 j`ai exposé mes photos dans La Maison de la Nature et de la Foret (sous le Patronage de la Direction Générale des Ressources Naturelles et de l´Environnement du Ministère de la Région Wallone).Vous trouvez ici un text en francais.
For an Article by Mrs. Marlene Schnelle-Schneider (German Society of Photography) about „Images in Trees“ please Look here
Auf der Homepage von The J.Paul Getty Museum fand ich einen Text über die Ausstellung In Focus: The Tree und den Artikel „Finding the Grace in Trees“ von Francoise Reynaud ,Kuratorin für Fotografie im Musée de Carnavalet in Paris und Autor von dem Buch The Tree in Photographs.
Here are some outtakes from the two articles. For more please Look at http://www.getty.edu ( current exhibitions)

In Focus: The Tree
February 8–July 3, 2011 at the Getty Center
“For millennia the tree has been a symbol of life. Celebrated by most ancient civilizations, the tree has stood for the center of the cosmos and the origin of creation. Represented throughout art and literature, trees feature in the earliest photographs from the 1840s as well as in contemporary works today. This exhibition, drawn entirely from the J. Paul Getty Museum’s permanent collection, presents a range of photographs that reveal various artistic responses to the perennial subject. Documenting primeval forests and cultivated nature, these images explore the tree in its many connotations—as a graphic form, an evocative emblem, and vital evidence of the natural world in which we live.”

„Finding the Grace in Trees”
by Françoise Reynaud”
„When I began to research tree photographs in the boxes of the collection for the new exhibition In Focus: The Tree, each image I selected spoke to me in a special way. At the time, I wasn’t thinking at all of an exhibition, I was simply conducting research to see how trees and photographers dialogued through the centuries—a very universal but also extremely personal dialogue between nature and humans.
Then, when it was decided that we would cremte a book and an exhibition from this work, my co-curator Anne Lyden, associate curator in the Department of Photographs at the Getty Museum, and I chose to emphasize how each photograph was able to convey a message. The images had to be expressions of beauty, strength, fragility, grace, grandeur, strangeness, utility, and so on. The relationship between the individual tree and the scene or the event depicted is what’s interesting to see and to understand. Each photo tells a unique story. Trees are sometimes so old; they have seen so much. Trees don’t wait for the photographer to be beautiful or expressive, they just are.Ranging from 19th-century works to contemporary pieces, the prints in the show are by both recognized and lesser-known artists. Among the photographers whose work is on view are Robert Adams, Eugène Atget, Simryn Gill, Gustave Le Gray, Myoung Ho Lee, Eliot Porter, Alfred Stieglitz, and William Henry Fox Talbot.

The most interesting thing in the exhibition to me is how all of the images do relate to each other—they have a dialogue. Photographers like trees because, very often, they make portraits of themselves while taking these pictures. But not always, of course! Sometimes it’s just a way of finding inspiration and beauty in nature. Some photographers are well known for making pictures of trees, like Carleton Watkins, Atget, or Adams. But sometimes the picture is an exception to their body of work, as with Man Ray, André Kertész, Dorothea Lange, or Diane Arbus. It seems to me these exceptions mean something very personal: perhaps the tree embodies a feeling very present in the mind of the photographer, and somehow resonates with what they as a human are going through in their life. I like to think so.

„Visual artists as well as writers have long extolled the presence of the tree. From the origins of photography to the present day, photographers have considered the tree, with its strong graphic form and evocative power, to be a popular subject. Through the works of artists such as Robert Adams, Eugène Atget, Anne Brigman, William Eggleston, P. H. Emerson, Gustave Le Gray, Eliot Porter, Alfred Stieglitz, Paul Strand, William Henry Fox Talbot, and Carleton Watkins, this book spans the history of photography from the mid-nineteenth to early-twenty-first century to address the image of the tree in its many connotations—as graphic form, symbolic icon, and role model for the beauty of nature. The selection of eighty-one images carefully culled from the J. Paul Getty Museum’s permanent collection of photographs and reproduced in color presents the tree in various contexts: the single tree; trees in the urban landscape; uses of trees; tree reflections and shadows; and details, abstractions, and conceptual views of trees as conceived by contemporary artists.„This book is published on the occasion of the exhibition In Focus: The Tree, to be held at the J. Paul Getty Museum from February 15 to June 3, 2011.

Françoise Reynaud is curator of photographs at the Musée Carnavalet, Paris
The Tree in Photographs
Author: Françoise Reynaud
Year: 2010

“Remembering Forward” Australian Aboriginal Painting since 1960 / “Images in Trees” by Paul Rolans

Contemporary Aboriginal art has two central characteristics: the artists’ binding relationships to their traditions and myths on one hand, and a visual language that appears highly modern to Western viewers on the other. At first glance, the works recall abstract Western painting. At the same time, however, they are concrete realizations of the land, and they show the connection of land and Dreaming on a direct and sensual level. Read and see more

Mit »Remembering Forward« zeigt das Museum Ludwig in Köln exemplarisch neun herausragende Positionen zeitgenössischer indigener Malerei der letzten 40 Jahre, die aus den Wüstenregionen im Zentrum und aus den Kimberley im Nordwesten Australiens stammen. Die Gemälde auf Baumrinde aus Arnhem Land , die um 1960 auf Initiative von Tony Tuckson und Stuart Scougall in die Art Gallery of New South Wales nach Sydney gelangten , fand ich klasse. Es war das erste mal , dass ich sie in einer Ausstellung sah. Sie haben eine lange Tradition. Schon vor Ankunft der ersten weißen Siedler verbreiteten sie sich über ganz Australien . Ich sah gleich die Parallele zu meiner Fotoserie „Images in Trees“ an der ich seit 15 Jahren arbeite. Die Bilder die ich in Bäumen sehe befinden sich auf der Außenseite der Baumrinde. Sie kommen zustande durch das Licht der Sonne, das sie akzentuiert oder einen Schatten wirft der zu einem Schattenbild wird, durch Regen, oder Schnee und, was sehr wichtig ,ist durch die Perspektive aus der ich sie betrachte und fotografiere. Ich sehe sie nur wenn ich mich vorher auf einen möglichen Fund einstimme, indem ich durch das Spazieren im Wald, Park oder Garten meinen Kopf frei mache von den Themen des Alltags. Meine Dreamtime. Die „Images in Trees“ haben auch eine lange Tradition. Seitdem es Bäume gibt, gab es die Möglichkeit Bilder darin zu entdecken. Der Betrachter, Entdecker, ist ein Kind seiner Zeit und jede Zeit hat seine eigene Bilder. Es gibt aber auch Archetypische Bilder die Zeitübergreifend verstanden werden können.Schauen Sie bitte hier und hier

"Images in Trees" - Archive

Here are some articles about my photoproject "Images in Trees" / "Bilder in Bäumen".

I have started it in 1995 as a work in progress.

"Turner Monet Twombly: Later Paintings" ~ “Images in Water” by Paul Rolans

Turner Monet Twombly: Later Paintings.

This exhibition is organized by Moderna Museert, Stockholm ,8 October 2011 –15 January 2012 ,in collaboration with Staatsgalerie Stuttgart ,11 February, 2012 – 28 May, 2012 and Tate Liverpool, 22 June - 28 October 2012.

“All three of these artists tested the boundaries of painting and radically challenged the traditional manner of artistic depiction. Well-considered juxtapositions will provide visitors with opportunities to contemplate each artist’s personal style as well as insights into the late phases of their careers. In his storm-blown seascapes, the English painter William Turner (1775–1851) developed an abstract pictorial language which was then taken up by the Impressionists. Claude Monet (1840–1926) realized the motifs in series of water lily paintings with differing light atmospheres. The works of Cy Twombly (1928–2011) offer a perspective on Turner and Monet from the vantage point of contemporary art. A prominent exponent of Abstract Expressionism, the American developed the poetic pictorial language further in his mythological compositions.

I admire the work of William Turner and Claude Monet a lot. It is an inspiration and at the same time a challenge to come up with something unique.. In my photo project "Images in Water", I show my view on this fascinating element. After many years of water-observation, I developed a special way of looking at it. I call it my imagenistic perspective. It. enables me to see Images in the water. Forms, figures and colours that are almost unbelievable.
The choice of works in the exhibition is very deliberate, it has seven themes. Beauty,Power and Space, Atmosphere and Fire and Water were the themes that I had in mind as I choose the pictures for this slide show.

I sell the photos in this video, but I also arrange exhibitions at congresses, conventions, meetings, celebrations,business- and other events,worldwide. On request, I create an unique photo-edition of "Images in Water" for you. Please contact me.

"The Gerhard Richter Window" in the Cologne Cathedral - an imagenistic interpretation by Paul Rolans

                                                                                                                                                                

The new stained glass window,in the Cologne Cathedral, designed by Gerhard Richter has been unveiled to the public on Aug. 25 - 2007. I went to look at it quite a lot since that day. The best time to do that is when the sun shines through it. Then some of the Cahedral´s walls look as if they are painted in light and fabulous colours. It inspired me so much, that I had to make this artistic comment,this imagenistic interpretation, in which I transform the stained glass window with its 11.500 coloured squares into images, that resemble the abstract paintings of Gerhard Richter

"Colour in the light"

"Richter’s work is indifferent to interpretations. It doesn’t operate with a higher meaning that can be read out of it, nor does it require this. It is what it is: colour and light. And it manages quite well with these fundamental elements. They suffice to produce a celebratory harmony. The coloured glass squares are only mediators between the sunlight of changing times of the day and the light yielded by the radiant power of the sun that passes through the coloured material. The sunlight manifests itself as coloured inside the church. And as the living natural light changes, so too does the colour tone of the affected light. Sometimes, on bright days, the yellow tones dominate; sometimes, on overcast days, the dark blue tones. The window lives from living light as the source of all life. ‘The light of the sun’, says the Dean of the Cathedral Dr. Feldhoff, ‘is refracted by the panes into the colours of the world’.... read the whole article

 

Gerhard Richter Panorama

"Gerhard Richter, beyond a doubt the most famous German artist of his generation, will be celebrating his eightieth birthday on 9 February 2012. To mark the occasion, the New National Gallery in Berlin is holding a sweeping retrospective of his work, in conjunction with Tate Modern in London and the Centre Pompidou in Paris...." read more.

"Neptune in Water" as seen by Paul Rolans -The Imagenist

It was breathtaking as I saw Neptune, the mythological God of Water and the Sea in a litte river, that has its sources in the woods of Aachen. The name Aachen derives fron Ahha, which means "Water" in the Ancient Germanic language. Seeing Neptune in all his splendour, had a AHA! effect on me.
The first Image is one of the originals. As you´ll see it is just perfect.I didn´t need to change or edit a thing. I´ve made some variations of it in order to create this video.