Autor: ingrid

fwbd3,41, Atelierbild: Öl auf Leinwand, 50 x 70 cm, 2000. Kurz vor meinem Umzug von der St. Peter Hauptstraße in die Schumanngasse habe ich dieses Bild gemalt. Ein Atelierbild in der Malerei entspricht einem Monolog in der Literatur, denke ich. Ich reinige meine Pinsel nur, bevor ich verreise, aber bevor ich umziehe, lege ich  mir schon keine neuen mehr zu. Alle abgebrauchten Pinsel hatte ich in einem großen Blumenübertopf gesammelt, und als Zukunftsvision von meinem neuen Arbeitsplatz malte ich dieses Bild, auf dem ich mir die zukünftigen Pinsel mit überlangen Borsten zunächst einmal aufmalte.

fwbd3,41, Picture of Studio, oil on canvas, 50 by 70 cm, 2000. I painted this picture shortly before moving from St. Peter Hauptstraße to Schumanngasse. A picture of a studio in painting is equivalent to a monologue in literature, I think. I clean my brushes only before setting off on a journey, but before moving I never get myself any new ones. I had gathered all the used brushes in a big cachepot, and as future visions of my new place of work, I painted this picture, in which, for a start, I painted my future brushes with extra long bristles

fwbd3,41, Interno dello studio, olio su tela, 50 x 70 cm, 2000. Dipinsi questo quadro poco prima di trasferirmi dalla St. Peter Hauptstraße alla Schumanngasse.Penso che un quadro d’interno di uno studio corrisponda ad un monologo in letteratura. Di solito pulisco i miei pennelli solo prima di fare un viaggio, mentre prima di cambiare casa non ne compro di nuovi. I pennelli usati li avevo raccolti in un grande portavaso e per farmi un’idea del mio nuovo luogo di lavoro dipinsi questo quadro con i pennelli come sarebbero stati nel mio futuro, con setole lunghissime.

fwbd3,40, Türkise Gasse mit endloser Treppe, Öl auf Leinwand, 60 x 80 cm, 2006. Ausgelöst von einer Bilderzustellung in eine Wiener Anwaltskanzlei, zu der mir der Weg endlos schien vom weit entfernten Parkplatz, mit meinen Bildern schwer beladen und Gina an der Leine mit ihrem Zick-Zack, wenn sie mich machtlos weiß, und am nächsten Tag noch einmal von Neuem, weil ich mein Band mit der Terminverschiebung nicht abgehört hatte, hab ich beschlossen, Susannes Kommentar, das halte jung, lustig zu finden und in weiterer Folge möglichst alt zu werden.

fwbd3,40, Turquoise Lane with Endless Stairway, oil on canvas, 60 by80 cm, 2006,  Delivering paintings from a distant parking space to a lawyer’s office in Vienna, the way seemed endless to me with my heavy load and my dog Gina on the lead. As always when I need my energy for something else she preferred to zigzag and to pull with all her strength. Before I had left there had not been time to listen to my mailbox, and I therefore I did not know that the date of delivery had been postponed. So I repeated my manoeuvre the next day. Later I decided to laugh about Susanne’s comment that carrying my paintings across the town would keep me young, but at the same time I wished to get as old as possible.

fwbd3,40, Viale turchese con scala infinita, olio su tela, 60 x 80, 2006. Iniziata dal trasporto dei quadri a un’ avvocato à Vienna, siccome mi pareva infinita la distanza dal parcheggio fina all’ ufficio portando pesantemente e il cane al guinzaglio che si muove a zigzag quando si accorge la minima debolezza da mia parte. E da capo tutto ciò la giornata prossima, perché non avevo sentito il messaggio sul registratore che la consegna sarebbe rinviata. Mi farebbero stare giovane i frequenti  trasporti, diceva Susanne. Io invece ne penso che la gente si sentirebbe ancora più giovane se si muovano a una certa leggerezza.

fwbd3,38, Gasse in Türkis, Öl auf Leinwand, 40 x 60 cm,

fwbd3,39, Street in Turquoise, oil on canvas, 40 by 60 cm;

fwbd3,39, Viale in Turchese, oil on canvas, 40 x 60 cm;

fwbd3,37, Eine Gasse weiter, Der reale Hintergrund dieser Gasse war eine in Olmütz, wo ich im Winter 1994 Susanne besuchte. Zu den erstaunlichsten Eigentümlichkeiten gehörte für mich die Straßenbahnlinie zu dem Haus, in dem die Lektoren wohnten, weil diese weit über die Stadtgrenze hinaus durch die ebene Landschaft zwischen Feldern entlang ging. Auf meiner ersten Fahrt kam ich mir plötzlich wie von fremden Mächten entführt vor. Irgendwo in der einsamen Weite ragte dann ein freistehendes Bauwerk heraus, von dem ich nicht sagen konnte, ob Hochhaus oder Baracke.

fwbd3,37, One Lane Further, oil on canvas, 60 by 80 cm, 2006. The realistic background of that street is situated in Olmütz, where I had come to meet Susanne in the winter of 1994. The tramway we took to get to the house where the German language teachers were staying, was one the most astonishing peculiarities, because it left the town and ran through the fields through a plain. On my first ride I felt carried off by strange powers. Somewhere in the lonesome wideness of the countryside a single building rose up and I could not tell whether it was a skyscraper or barrack.

fwbd3,37, Un viale in più, olio su tela, 60 x 80 cm, 2006. Lo sfondo reale per questa viale era à Olmütz. Ci sono stata à vedere Susanne quando lavorava lì. Una delle specialità più appariscente che ho mai visto era il tram, il quale andava fuori al territorio urbano nel paesaggio, lungo e in media dei campi. Quando ne prendevo per la prima volta mi sentivo rapita da una forza strana. A un tempo qualsiasi poi s’ emerse un’ edificio alto e singolo, di cui non so proprio dire affatto, se o era il grattacielo o la baracca.

fwbd3,36, Gasse in Rom, Öl auf Karton und Holz, 52 x 62 cm,

fwbd3,36, Street in Rome, oil on cardboard an wood, 52 by 62 cn;

fwbd3,36, Viale a Roma, olio su cartone e legno, 52 x 62 cm;

fwbd3,35, Weiße Stadt, 2, Öl auf Öl auf Leinwand, 60 x 80 cm, 2009. Die Stadt Rom war bei meinem ersten Besuch 1981 eine überwiegend „weiße Stadt“ geblieben, im Sinne des Begriffes für ein unerforschtes Gebiet auf einer Landkarte, was mit dem schlechten Erlebnis zu tun hatte, dass ich dort in Folge eines heftigen Streits mit meinem Freund in Badekleidung und ohne Geld aus seinem Auto ausgestiegen war, so dass ich nicht in der Stimmung war, kulturell bedeutende Plätze und Bauten anzuschauen und stattdessen zu Fuß viele Kilometer in die Richtung ging, von der ich vermutete, dass sie der Norden war, um dann per Autostopp erst einmal wieder nach Pescara zu kommen, wo mein Gepäck lagerte.

fwbd3,35, White Town,2, oil on canvas, 60 by 80 cm, 2006. After my first visit in 1981, the city of Rome remained an almost “white town” to me, just like an unexplored region on a map. The reason for this feeling was a heavy  dispute with  my then-friend, and I got off his car  in my bathing costume and without any money. In that situation I was not in the mood for visiting culturally important sites or buildings, instead I was walking many kilometres in the direction I assumed was north and finally got back to Pescara by hitchhiking, where my luggage was. In complete contrast to my former love affaires everything that has to do with my painting is a pure history of success. In the meantime, the original of my “White Town” was purchased  by the municipality of Stallhofen, as a present for the local home for the elderly.

fwbd3,35, Città bianca, olio su tela, 60 x 80 cm, 2006. La città di Roma restava “la tela bianca” per me quando l’aveva visitata per la prima volta nel 1981. In conseguenza di una lite  grave col mio amico scendevo dalla sua macchina in costume da bagno e senza soldi.  Allora non mi sentivo in condizione adeguata a visitare i posti ed edifici celebri. Invece di quello andavo a piedi molti chilometri in direzione del nord, almeno dove io lo supponevo. Riuscivo per  autostop ad arrivare à Pescara la dove avevo il mio bagaglio. In Contrastate le mie relazioni d’ amore di prima, sono quelle in contesto della mia pittura l’ unica storia dello successo. L’ originale della “città bianca” l’ avevo comprato la comune di Stallhofen per regalo al circolo degli anziani.

fwbd3,34, Gasse n Augsbrg, Öl auf Karton und Holz, 50 x 60 cm,

fwbd3,34, Street in Augstburg, oil on cardboard and wood,

fwbd3,34, Viale a Augusta, olio su cartone e legno, 50 x 60 cm;

fwbd3,33, Rote Stadt, Öl auf Leinwand, 40 x 50 cm. Der Augsburger Religionsfrieden liegt schon lange zurück, aber weil ich evangelisch nach Augsburger Bekenntnis bin, verband ich Augsburg in meinen Vorstellungen mit der unsinnigen Idee, in Augsburg wären besonders tolerante Menschen zuhause. Abgesehen davon, dass mir die Stadt auf meinem kurzen Besuch im September 2007 übertrieben geschniegelt vorkam, sind wir auf Schritt und Tritt nur auf Verbotenes und Versperrtes getroffen. Es war unmöglich, mit dem Hund in eines der Lokale hineinzudürfen, aber auch mit den Kaffeehäusern erging es uns so. Auf unserem Weg lag das städtische Schwimmbad, und mir kam plötzlich der Gedanke, vielleicht sind die da alle einfach nur irgendwie verkehrt, und ich fragte hinein, ob wir mit unserem Hund in ihr Büffet einkehren dürften, worauf  wir gerade dort, wo alles steril war, nur ja selbstverständlich hörten und wir ganz freundlich mit Kaffee und Kirschkuchen bewirtetet wurden,

fwbd3,33, Small Red Town, oil on canvas, 40 by 50 cm, 2007.  If somebody asks me, or if I have to fill in a form where they want to know my confession, I answer that I am a protestant “A. C.”, which means Augsburg Confession. The historical “Religious Peace of Augsburg” dates back more than 500 years. That made me believe – naively – that the citizens of Augsburg would be exceptionally tolerant people. During a short visit in September 2007, however, I did not find any sign of tolerance. Apart from the fact that everything was over-styled in that town, at every turn things were forbidden or closed to us. It was impossible to go into one of the cafés restaurants with my dog. When we passed the local swimming pool I suddenly had the idea that maybe everybody there was just a little bit reversed, and so I asked, if we were allowed to enter the buffet. And just there, where everything was clean and sterile, they said “of course” and “why not” and offered us coffee and cherry cake and treated us in a very friendly way.

fwbd3,33, Piccola città rossa, olio su tela, 40 x 50 cm, 2007.. A causa della pace religiosa di Augusta  nell’anno 1555, e siccome io sono protestante in senso della confessione religiosa, pensavo ingenuamente  che la gente à Augusta sia più tollerante d’ altrove. A parte che la città mi sembrava troppo azzimata  c’ incontravamo le situazioni o vietati o chiusi passo passo. C’ era impossibile di entrare col cane a un ristorante e altrettanto c’ era con le caffè. Per via c’ era il piscino pubblico, e mi veniva l’ idea che la gente lì forse vorrebbe soltanto distinguersi da quella in alte città. E proprio lì dove si aspettasse tutto sterile ci dicono di si, e come no? Erano molto gentile con noi e ci offrono il caffè con dolce di ciglige.

fwbd3,32, Gasse in Strasburg, 40 x 50 cm, 2007. An meiner beschönigenden Ansicht von Strasburg aus dem Gedächtnis, wo ich am Tag nach der Veranstaltung im September 2007 ins Zentrum spaziert bin, stimmt das Querformat für die prächtig ausladende Gasse. In der Realität waren mehrere Gebäude in der Nähe des Doms gerade Baustellen und die Geräusche der Stadt von Presslufthämmern übertönt. In der späteren Abgeschiedenheit meines Ateliers haben sich die Bilder in mir wieder in die lautlosen Töne der Farben verwandelt.

fwbd3,32, Lane in Strasbourg, oil on cardboard and wood, 40 by 50 cm. I painted this oblong format picture out of my glorifying memory of the bright lane in the centre of Strasbourg, where I took a walk after an event in September 2007. In reality, in the centre around the cathedral, there where a lot of buildings in renovation, people were working and the noise of their jackhammers was drowning the sounds of the city. Later, in the silence of my studio, the pictures inside me retransformed into the soundless values of colours.

fwbd3,32, Viale a Strasburgo, olio su cartone e tavola, 40 x 50 cm, 2007.  Dipingendo il quadro che sarebbe più bella della realtà l’ho fatto a memoria. La serata dell’inaugurazione della mostra sono andata in giro fino al centro di Strasburgo, dov’è il duomo. Per via ci erano molti cantieri col rumore adatto degli martelli pneumatici. Ritornata a casa le immagini dentro di me si sono trasformati a tinta silenziosa.

fwbd3,31, Gasse in Paris, Öl auf Karton und Passepartout, 20 x 30 cm, 1993 und 2007. Als logische Folge des Einmalens der Umrahmungen erschien es mir, das Bild auch über ein Passepartout hinaus fortzusetzen. In meiner Phase der Passepartouts habe ich zum ersten Mal die Maler auf dem Montmartre in Paris gesehen. In meiner romantischen Vorstellung waren sie alle herausragende Persönlichkeiten, die vor progressiven Ideen nur so sprühten, aber jeder von ihnen malte, zumindest dort, Paris-ansichten nach durchschnittlichem Touristengeschmack oder Porträts von Leuten, die sich vor ihnen anstellten. Wahrscheinlich fehlen wegen dieser weiteren Zerstörung einer Illusion die Kuppeln von Montmartre, die man in der Wirklichkeit am Ende dieser Gasse als eigentliches Charakteristikum sieht.

fwbd3,31, Street in Paris, oil on cardboard and passepartout, 20 by 30 cm, 1993 and 2007. As a corollary of my building-in the frames I had to do the same with the passepartouts. In my own phase of passepartouts I saw the painters at Montmartre for the first time in my life. In my romantic conception all the painters there where outstanding personalities, bubbling over with progressive ideas. However – at least on the day I was there – each of them was painting views of Paris in the common taste of the average tourist. Some of them where portraying tourists and people were queuing in front of them. One more of my illusions was destroyed and that is probably the reason why in my “Street of Paris” I left out the dome of Sacre Cœur, which in reality is the characteristic feature of that street.

fwbd3,31, Viale a Parigi, olio su cartone e passepartout, 20 x 30 cm, 1993 e 2007. La conseguenza ovvio del mio lavoro di integrare le cornici nella mia pittura mi pareva di integrare anche il cartone di passepartout. Nella mia fase di usare i passepartout vidi per la prima volta i pittori sul Montmrtre à Parigi. I pittori lì, immaginavo, si distinguerebbero di tutti gli altri e sarebbero pieno di fantasia. In realtà però dipingevano o visti di Parigi secondo il gusto dei turisti o facevano i ritratti delle persone che facevano la fila. Distrutta la mia illusione mancano le cupole del Sacre Cuoer sulla mia pittura, probabilmente, tipico in realtà di questa viale.