LandEscape Art Review // Special Issue - Page 80

LandE scape Klaus Grape CONTEMPORARY ART REVIEW Usually I paint on large canvases which I lay flat on the ground of my studio and then I start to put on layers of paint, poured or sprayed or added with a brush. I use pure pigments of color, gravel, sand, salt, glass beads and Swarovsky crystals. Sometimes it takes several weeks to finish a painting because each layer of acrylic paint needs a long time dry up before another layer of paint can be added. But despite that, I never ever work on two paintings simultaneously because that would destroy the very important factor of intuition. The body of works that we have selected for this special edition of LandEscape and that our readers have already started to get to know in the introductory pages of this article, has at once captured our attention for its dynamic and autonomous aesthetics. While walking our readers through the genesis of Landscape series, would you tell our readers how do you usually develope the main idea when starting a new project? As I already mentioned before, When I start a landscape painting or a series I have a very clear vision of what I want to express or what kind of artistic philosophy I want to transport. Whether it is a kind of sattelite view of a warm landscape or maybe a cold snowpacked area. Is it a sattelite view or maybe a landscape of a bacterial structure. But I always create imaginary, non exsisting landscapes or dreamscapes, technical and biological. Your works communicate a successful attempt to : are your works painted gesturally, instinctively? Or do you methodically transpose geometric schemes from paper