Autor: ingrid

fwbd4,04, Fassade in Rhodos. Öl auf Leinwand, 50 x 50 cm, 2009. Den Einforderungen eines Anteils, um weiterspielen zu können, hatte ich standgehalten, auch seinem Appell an meine Revanche für seine großzügige Einladung, nicht aber den danach folgenden Manövern, seine Geldbörse von mir wiederzubekommen. Ich hatte sie ihm schließlich hingeworfen und war nachhause gelaufen. Weil er auch mit einem Anruf am darauf folgenden Tag behauptete, ich hätte eigentlich versagt, und er müsse jetzt Geld von mir zurückbekommen, dachte ich sehr lange darüber nach. Dass mein Quartier in Rhodos dann so war, führte ich darauf zurück, diese Reise womöglich gar nicht wirklich verdient zu haben.

fwbd4,04, Façade in the Square, Rhodes, oil on canvas, 50 x 50 cm, 2009. I had withstood both his claim of a share of the money, which would have enabled him to continue gambling, and his calling on me to return his generous invitation to the casino, but not the manoeuvres he then used to get his wallet. I had finally thrown it to him and run home. The following day he had called and claimed that I had failed and owed him some money which made me think about it for quite some time. And when my accommodation in Rhodes was as it was, I put it down to the fact that I might not really have deserved this journey. Before booking an accommodation I always ask if there is a window. I also did so with the room in Rhodes, but the window looked out onto the shaft for the toilet ventilation. This experience has taught me always to ask what can be seen from the window when booking a room.

fwbd4,04, Facciata a Rhodi. Olio su tela. 50 x 50 cm. Riuscii a rifiutargli una parte della mia vincita per finanziare il suo gioco, ignorai anche il suo appello di ricambiare il generoso invito, ma le sue manovre per riavere da me il suo portafogli  erano troppo; glielo gettai e me ne andai a casa. Siccome continuava a insistere anche nella telefonata del giorno dopo, che non avevo mantenuto la promessa, che quindi gli dovevo restituire dei soldi, ci riflettei un bel pò. Che la camera a Rhodi fosse poi com’era, era quasi come se non mi fossi meritata quel viaggio.

fwbd4,05, Façade in the Square, Rhodes, oil on canvas, 50 by 50 cm, 2009. Which for sure was not better in the past was the housing situation. As I disapprove of the fact that people are allowed to rent out places they themselves not even set foot in when showing people round, so before book some accommodation I ask if there is a window. This was the case with a room in Rhodes but the window looked out onto the Wall of the ventilations shaft of the toilets. Since that time I have always asked what I could see from the window when booking a room.

fwbd4,05, Facciata quadrata. Rhodi. Olio su tela. 50 x 50 cm, 2009. Ho preso l’abitudine, prima di prenotare una camera, anche per una singola notte, di chiedere se la camera avesse la finestra. La finestra c’era, anche nella mia stanza à Rodi. La vista però andava soltanto fino al muro all’altra parte della tromba di ventilazione del bagno. Sin da quell’esperienza chiedo anche, che cosa si vede guardando dalla finestra.

fwbd4,06, Formation auf Weiß.  Öl auf Leinwand, 60 x 80 cm, 2010. Der tief ansetzende Zweig eines Nussbaumes hinterließ bei jedem Fotodurchgang im Freien seinen Schatten auf den Bildern. Aus einem dieser Schattenfotos malte ich später den Schatten dieses Schattens, und zwei der Blätter wurden zu Gestalten, die hintereinander oben auf dem Ast sitzen als wäre der ein Hexenbesen.

fwbd4,06, Formation in White, oil on canvas, 60 x 80 cm, 2010. When taking photos, the low branch of a nut tree produced a shadow in the pictures. Based on one of these photos, I later painted the shadow of  the shadow and two of the leaves became figures sitting on the branch as if it were a witch’s broom.

fwbd4,06, Formazione su Bianco. Olio su tela.60 x 80 cm.  L’ombra del ramo basso di un noce  era visibile su ogni foto del quadro. Una di queste foto con ombra mi ispirò a dipingere l’ombra di quell’ombra con due foglie trasformate in figure sedute sul ramo come su una scopa da strega.

fwbd4,07, Lilac’s Journey to Blackberry, oil on canvas, 60 x 80 cm, 2010. I had dismissed the exhibition of four pictures in a bank as a minor consideration lying ahead. I exchanged the pictures every week and when I drove to the bank,  sometimes twice a day , I changed  from one side of the river Mur to the other and passed placed which I had avoided for years. I associated them with memories which I had banned to those places in order to put them away. Every time I arrived there, pieces of the lump in me dissolved. One day, I suddenly remembered that I had lived behind the bank for some years, on another day that I had spent my first lessons in oil painting in the building opposite. From those memories developed all my texts for my first volume of miniatures referring to my time in Rebengasse. At the same time I continued painting. One of the pictures that had to do with those thoughts is the play of colours with lilac and blackberry, with stairs and hints of façades as architectural brackets.

fwbd4,07, Passaggio da Lilla a Mora,  Olio su tela, 60 x 80 cm. Avevo considerato un lavoro secondario, esporre in una banca  quattro quadri che andavano cambiati ogni settimana. Le mie consegne, certe volte anche due in un giorno, mi riportavano al di là del fiume Mur, in posti che per anni avevo evitato essendo loro strettamente legati a ricordi che riuscivo a tenere a bada  solo perchè appunto li collegavo a quei posti. Con ogni nuova consegna, ogni passaggio, si scioglieva una  parte del groppo che mi sentivo in gola e un bel giorno mi ricordai di aver avuto per alcuni anni una casa dietro la banca, un altro giorno di aver preso le prime lezioni di pittura a olio nell’edificio di fronte. Ecco come si svilupparono, parallelamente alla pittura, tutti i testi del primo volume delle Miniature riguardo alla mia vita nella Rebengasse. Un quadro che rispecchia questi pensieri è il gioco di colori tra lilla e  mora, di gradini e facciate come parentesi architettonica.

fwbd4,08, Brombeeren.  Öl auf Leinwand, 60 x 80 cm, 2012. In der Gegend dort herrscht reges Nachtleben. Die Wände bei uns in der Rebengasse waren hellhörig, der Bau mitsamt seinen Mauern irgendwie durchsichtig. Uns störten die anderen damals nicht, aber wir oft die anderen. Die Nachbarin von unten rief wegen jeder noch so kleinen Feier bei uns an, und wenn wir Gäste mit Musikinstrumenten hatten, reagierte sie mit Telefonterror, aber auch, wenn ich allein in der Wohnung war, rief sie an und erkundigte sich, welche Schuhe ich trüge. Dass ich „keine“ sagte, fand sie ungeheuerlich, denn barfuß mache den meisten Lärm.

fwbd4,08, Blackberries, oil on canvas, 60 x 80 cm, 2010. Nightlife in that area was vey busy. The walls of our flats in Rebengasse were thin, the whole building somehow transparent. The others did not bother us but we upset them. The neighbours from downstairs would call whenever we were having a little party and when we had invited people playing instruments she would terrorize us with her calls. However, when I was alone at home, she would call and ask what type of shoes I was wearing. When I said I was not wearing any she was outraged because she was of the opinion that barefoot was loudest.

fwbd4,08, More. Olio su tela, 60 x 80 cm, 2010. Quel quartiere è noto per una vita notturna piuttosto vivace. Le pareti di casa nostra nella Rebengasse erano dall’udito fine, tutto il palazzo malgrado i muri in un certo qual modo trasparente. Noi non ci sentivamo disturbati dagli altri allora, gli altri da noi, però, sì. Ogni festicciola a casa nostra  significava telefonate dalla vicina di sotto. Se poi qualche ospite suonava uno strumento, ci tempestava di telefonate, ma anche quando ero sola in casa telefonava per sapere che scarpe portassi.  Che girassi a piedi nudi le sembrava inaudito, visto che scalzi si fa ancora più rumore

fwbd4,09, Fassade in Herbstfarben. Öl auf Leinwand, 80 x 80 cm, 2010. Dass ich die herbstlichen Farbtöne der Brombeerzeit verwendete, setzte in meinem Gedächtnis immer auch die Malstunden mit den beiden Brigitten frei, die sich durch meine Bilderzustellungsfahrten verstärkten, weil der Parkplatz für das Auto genau gegenüber von dem Haus war, in dem Brigitte Eins nach ihrem Auszug aus dem Internat gewohnt hatte. Auf der anderen Seite des Häuserblocks, in dem sich die Bank mit meiner Wechselausstellung befindet, ist das Haus in der Rebengasse, wo ich zusammen mit meiner jüngsten Schwester Edith in einem Herbst eingezogen bin.

fwbd4,09, Façade in Autumn Colours, oil on canvas, 80 x 80 cm, 2010. Using the autumn colours of the blackberry season I remembered the painting lessons with the two Brigittes. The memories became stronger when I was delivering my pictures to the bank because the parking lot was opposite the building in which Brigitte number one lived after she had left the boarding school. There I had my first lessons in oil painting. On the other side of the block where the bank with my temporary exhibition was, was the block in Rebengasse where I moved in with my youngest sister Edith one in autumn.

fwbd4,09, Facciata in colori autunnali, olio su tela, 80 x 80 cm. I colori autunnali della stagione delle more mi riportarono in mente le lezioni di pittura con le due Brigitte. Ricordi che si rinforzarono a ogni consegna perchè il parcheggio si trovava proprio di fronte alla casa che Brigitte Uno aveva affittato appena uscite dal collegio. Dall’altra parte dell’isolato con la banca ospitante la mia mostra, si trova la casa della Rebengasse, dove parecchi autunni fa ero andata a vivere con  mia sorella minore Edith.

fwbd4,10, Gästebild, Öl auf Karton und Holz, 33 x 43 cm, 2010. Sie führte mir vor, wie das Übersiedeln ohne Anstrengung funktioniert. Nach und nach kamen irgendwelche Leute, die sie bei einem Abendausgang kennen gelernt und zum Essen bei uns am Hohlweg eingeladen hatte, mit ihren Autos bei uns an. Nach dem sehr unterhaltsamen Essen packte jeder von ihnen einige Sachen ein, und mit einer einzigen Fahrt hatten wir alles auch schon in unserer neuen Wohnung. Manchmal geht zur Abwechslung etwas auch wirklich leicht.

fwbd4,10, Guest-Picture, oil on cardboard and wood, 33 x 43 cm, 2010. She demonstrated to me how moving works without difficulty. Some people arrived in their cars. She had met them when going out and had invited them for lunch to our flat in Hohlweg. After the entertaining meal all of them put some of our belongings into their cars and everything was taken to our new flat at one go. Sometimes things are really easy for a change.

fwbd4,10, Quadro per gli ospiti. Olio su cartoncino e legno, 33 x 43 cm. Mi fece vedere come traslocare senza fatica.  Alla spicciolata vedevo arrivare gente che lei aveva conosciuto la sera prima e invitato a cena a casa nostra. Dopo una cena molto divertente, ciascuno di loro caricò la propria macchina di roba nostra e con un unico viaggio il trasloco fu completato. Qualche volta qualcosa riesce anche in modo semplice.

fwbd4,11, Bild auf historischem Stoff, Öl auf Segelleinen, 100 x 200 cm, 2011. Der Stoff, mit dem ich den fleckigen Tapetentisch immer bedeck hatte, wenn ich Sachen für den Flohmarkt hatte, war für meine Waschmaschine zu lang, und nach dem Abschneiden einer zwei Meter Bahn fand ich ihn ideal als Untergrund für ein Bild, bei dem ich so lange wie es dauerte, an die unterschiedlichen Flohmärkte dachte, auf denen ich war. Während die einzelnen Schichten trockneten, malte ich die Miniaturen, zu denen ich wiederum eigene Texte schrieb, die jeweils einzelnen Personen zugedacht sind, die mit mir dort waren, etwa der Abverkauf des gesamten Haushalts meiner Arbeitskollegin Christine, bevor sie nach Venedig übersiedelte, nicht wissend, dass ihre Liebesgeschichte dort nur so kurz sein würde und  sie nach einigen Wochen wieder zurückkehrte.

fwbd4,11, Picture on Historic Cloth, Oil on duck, 100 x 200 cm, 2011. The piece of cloth I used to cover the decorating table when selling things at a flea markets was too long to go into my washing machine. After cutting off a piece of two metres I found it ideal to paint a picture on it. While painting I was thinking about the various flea markets where I had been. While the different layers were drying I painted miniatures and wrote my texts for them which were meant for individuals who had been there with me, like my workmate Christine who was selling her entire household before moving to Venice, not knowing that her love affaire there would be so short that she would be back in a couple of weeks.

fwbd4,11, Un tessuto storico. Olio su tela, 100 x 200 cm. Il tessuto che copriva le brutte macchie sul tavolo per la carta da parati quando lo usavo per il mercato delle pulci, era troppo lungo per la mia lavatrice. Ne tagliai due metri e lo trovai l’ideale fondo per un quadro. Preparandolo ripensavo ai vari mercati delle pulci che avevo visitato. Mentre le diverse mani asciugavano dipingevo le miniature per le quali poi scrivevo dei testi, dedicati alle persone che mi avevano accompagnato.  Come alla mia collega Christine, di cui vendemmo gli articoli domestici prima che si trasferisse a Venezia, ignara del fatto che la sua storia d’amore sarebbe durata poco e che sarebbe ritornata poche settimane dopo.

fwbd4,12, Ringmappen, Öl auf Karton und Holz, 40 x 50 cm, 2010, 2011. Weil mir mein eigenes Bild, verglichen mit seinen Vorläufern, irgendwann plötzlich langweilig erschien, habe ich  mehrere langstielige Pinsel in ein durchsichtiges Gefäß gestellt und wie auf einem anderen Bild mit überlangen Borsten gemalt. Das erinnert mich jetzt selber an einen Köcher mit Pfeilen, wie ihn die kämpfenden Helden in den Sagen und historischen Romanen an einem Gürtel um ihre Mitte geschnallt hatten. Das könnte ich ja auch so machen. Anstatt die Pinsel auf meinem Maltisch in einem leeren Marmeladeglas vor mir stehen zu haben, schnalle ich sie mir in einem Köcher um und habe sie dann jederzeit noch schneller greifbar.

fwbd4,12, Ring Binder, oil on cardboard and wood, 40 x 50 cm, 2010, 2011. As my picture, compared to former ones, at some point suddenly seemed boring to me, I put some brushes into a transparent jar and painted them with extra-long bristles, as I had done in a former picture. It reminded me of a quiver with arrows which fighting heroes in legends and historic novels wear them around their waist. I could do alike. Instead of putting my brushes in a jam jar in front of me on my work table I could tie them in a quiver around my waist and thus I would have them at hand quickly and at any time.

fwbd4,12, Cartella , olio su cartoncino e legno. 40 x 50 cm. Quando il mio quadro tutto ad un tratto mi sembrò noioso, misi diversi pennelli in un vaso trasparente e li dipinsi con setole extra lunghe. Ora mi fa pensare alla faretra piena di frecce degli eroi delle leggende e dei romanzi storici. Potrei farlo anch’io: invece di tenere i pennelli in un barattolo da marmellata sul tavolo davanti a me, portarli in una faretra fissata alla cintura e averli pronti in un batter d’occhio.

fwbd4,13,Torbogen im Morgenlicht, Öl auf Leinwand, 50 x 50 cm, 2008. Einmal hatte ich die Idee, in meinem Atelier einen Öffnungstag einzuführen. Ich schickte und teilte Karten aus, um das publik zu machen. Während der ersten Wochen meiner Öffnungstage war ich auf der Morgenrunde mit Gina in großer Sorge, mich nur nicht zu verspäten, und wenn wir zu lange im Hinterhof waren, ging ich ein paar Mal nervös zwischen Gartentür und Haustür hin und her, falls ich von draußen die Türglocke überhört hätte. Da  war niemand, wie auch in den darauffolgenden Wochen. Dieser Wochentag wurde bald zu meinem konzentriertesten Arbeitstag, und heute könnte ich nicht einmal mehr sagen, ob das der Montag, der Dienstag, der Mittwoch, der Donnerstag oder der Freitag war.

fwbd4,13, Archway in Early Morning Light, oil on canvas, 50 x 50 cm, 2008. Once I had the idea to introduce a regular open day at my workshop. I sent and distributed cards to make it known. During the first weeks, I was constantly worrying about being late when I was walking my dog Gina in the morning. When we were in the backyard, I would nervously pace between the back and front door for fear of not hearing the doorbell. However, nobody came and neither the first nor the following weeks. That day of the week soon became my busiest day, and I cannot even tell if it was the Monday, Tuesday, Wednesday, Tuesday or Friday.

fwbd4,13, Portone alla luce del mattino, olio su tela, 50 x 50 cm, 2008. Una volta mi venne l’idea di aprire lo studio al pubblico un giorno la settimana. Spedii e distribuii biglietti per informare la gente. Durante le prime settimane di apertura mi sforzavo di non attardarmi con il mio cane durante il giro mattutino. Se eravamo ancora nel cortile dopo le 11, o tendevo nervosamente l’orecchio al suono del campanello, o controllavo  se il portone di casa era aperto. Non c’era mai nessuno neanche nellesettimane seguenti. Quel giorno della settimana divenne presto il mio giorno di lavoro piùproduttivo . Oggi non saprei più dire se la mia giornata di apertura fosse il lunedì, il martedì, il mercoledì, il giovedì o il venerdì.