In einer komplexer werdenden Welt wird das Einfache zum Luxus II Painting

1955 born in Freiburg ., living and working in Filderstadt near Stuttgart, Germany | Michael Schmidt tells stories whose beginning and end can be not always fixed in fixed points on the given format. Since they make declarations about states, feelings, moods, impressions which condense in spontaneously sedate lines, lines and line bundles. Schmidt follows own springs of the inspiration and finds in it in general human, backgrounds, sometimes obscure. He turns away at one moment consciously from current art stereotypes to find himself immediately on it in a picturesque tradition. Schmidt integrates and processes artistic details and ideas anew. No matter whether it concerns classical landscape painting or optical mixture whether he studies Georgia O'Keeffe or derives inspiration towards M.C.Escher. One finds the free form play just as the graphic directness of the OpArt and the Informel. With all variety a little bit completely specific still always seems to interest in all these creation manners, structures and the special picture state: the graphic as an essential element of his art. And more still: the gestural, direct, associative-mental. Darkness often also finds itself, cryptic and mysterious – one feels reminded betimes to Goya or in Giger, but without his technical mannerism. Then again play, irony and weird forms. Organic structures alternate, draw a space between order and chaos. The artist puts this over and over again anew in a tension field and follows his creative intuition, thus as the ideal nearness and distance would originate only in the activities. He uses the wide-put field of the possibilities. And he does it, so to speak, exemplarily without getting stuck in an idea or a technology too long. Schmidt's pictures try to be no pure effigies of the reality, are rather it poetically distorted, subjective snapshots of felt reality. To paint the moment tells at the moment to be, is called in the original sense to create something new. Thus originate from the first line the forms which develop from themselves out. It is the rhythm of the pictures which fascinates. (Klumpp/Parrotta)