© by Aktrice-Edith Egger

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" my works are also to be enjoyed "

My starting-point, like that of many artists, is the love of colours, together with symbolism and the human body. I have enormous admiration for the great masters - Rembrandt, Rubens, Leonardo da Vinci, Titian,. then Monet, Mucha, Klimt, Dali,.... to mention only a few. For me, the main thing is the love of painting, and I simply have to let out all that is simmering inside me!

Foto and Video (click image): © Roland Pössenbacher 2007 - lindwurm@direkt.at

"Only the one who swims against the current, will reach the source"

On the one hand the starting point of my art work begins with the simplicity of abstract compositions including different materials. The realistic motive painted in an elaborate technique which the old masters were already using is a complete contrast to it on the other hand. Both styles should become symbioses.

My art work has got a symbolic character. You can see this in the way how I combine my abstract compositions, the material and the final realistic painting as a unity.

This unity should communicate with the viewer on a non-verbal level and should transport a message.

My main focus is to symbolize the contrast between: yes – no, good – evil, day – night, life – death… .

As an artist I see my work as a tool to reflect on something. It should be a mirror. However, it should emphasize that even in the negative there is always hidden something positive.

Independent thinking and working is essential for an artist to create something which will touch the viewer’s heart.

Whether it will bring someone into a contemplative mood, or will arise feelings of anger, confusion, calm someone down, make him joyful or want to criticize - this depends on the viewer’s perception.

People tend to feel that my art works look “beautiful”, in such a case, I am pleased, because this is my main intention.

To make people feel joy, power and feel all the positive which surrounds us.

My art should inspire to swim against the current to reach the source, to unwrap the positive in the negative.

This is how an oil painting evolves.

I prefer an elaborate oil painting technique that has almost fallen into oblivion. What you can see is a mixed media painting, showing a unique combination of abstract compositions.

I call my newly-developed technique "Essential - Art", since the various materials project half-way out of the picture and are completed optically by realistic painting on the flat surface.

The stretched canvas is given ten coats of primer (chalk, white pigment and binder), each coat being left to dry thoroughly before the next is applied. Then it is wet-sanded until it is as smooth as paper, and proofed (two coats); this prevents the binder (e.g. linseed oil) in the pigments being absorbed into the layers of primer and thus fading the surface colour. The final stage of preparation is the application of two coats of a primer specially suited to precise, realistic work. The canvas then has to dry for 24 hours before painting can start. The entire priming and drying process takes three days. Now the background can be painted. I prefer abstract compositions in mixed media, using a variety of substances and textures, and working different materials into the surface. The frame is also an integral part of the work. When the background is completed and dry (this takes between a week and ten days) the imprimatura is applied. A further day's drying time is required before the motif can be added - but, importantly, the outlines only. Now to begin the real painting; the first thing is heightening. I use hardly any painting medium, so that the pigment retains its density and the colours show to their best advantage. I make some of the oil-paints myself, using pigment, linseed oil and alkyd resin. When the motif is complete, the picture has to dry again. Then up to ten layers of glaze are applied, until the motif attains the three-dimensional effect I am aiming at. Each layer of glaze has to dry properly, otherwise the colours will run and the picture will have a "hole", which cannot be invisibly repaired. After drying again, the picture is varnished. An oil painting using this technique takes between two and three months to complete, including the frequent drying phases, so I am usually working on between 5 and 8 paintings at once.