Idea processing

The FlyingArt technique I developed during winter 2002. Since then I applied it often for my creations.

Viewing each “normal“ picture, reduces the impression of the beholder completely to the ostentible experiencable visual and emotional informations, hidden in this particular creation. This embodiment, which is only two-dimensional in most cases, is limited arbitrarily by the character and the extents of the subject.

Under these conditions the artist tries to fill his work with emotional contents, and the viewer again tries to seize them as much as possible with his senses and feelings.

With the FlyingArt technique I therefore wanted to create another form of visual design. A form of art, where the approach is not only enriched by the composition of the color and the guidance of the brush by artist`s hand, but also by the elements of volume and depth of dimension of the creation.

The objective target was to add a further value to already well-known emotional qualities of a creation.

The solution of this challenge arose from three main means:

First of all, by laying emphasis on vacuities and adhesive bondings, which are woven into the picture as an inseparable part (1), second - by the maximum utilisation of the transparency of the framework together with inconspicuous connections (2), and third - by the way the picture is attached onto the wall (3).

At the end of the theoretical completion phase the submission of a prototype at the European Patent Office was necessary, in order to protect the rights of the idea and the design as comprehensively as possible. It was decided that the realization of the idea is accomplished by means of an abstract work, in order to ease the understanding of the principle.

The first 3D creation where I applied this new method is called Sefad.

While viewing the back of the picture one discovers six geometrical segments, which are affixed to the paper surface in different sizes and forms. It is also to be mentioned that industrial paper is used here, but  according to the requirements of the creation almost every other natural material, like e.g. fabric, wood or leather can be applied.

During a closer and more exact inspection dark-brown marks step out, which adumbrate the margins of the segments.

They convey the technique of the development of the empty areas in the material.

These are fire cuts, which are etched in with highly precise electrical burning devices. In particular the fine burning points are applied here, which can produce a concentrated flame of up to 1680°C.

Already by a superficial view at the front side of the work, one discovers the multilayered character, which is obtained by the empty spaces.

The unique effect, is supplemented by the fact that all particles, which are removed by the burning cut from the work surface, here in the mapped picture marked with white letters, are again affixed in other areas of the picture, here marked with yellow letters:

The arch bridge, which was taken from the lower sector of the work, left of the white A, fit again in the picture at its upper part under the yellow letter  A .

The cut aperture, left of the white letter B, was again affixed some centimeters above and is to be recognized as yellow  B . The round window C appears on the upper right corner, this time as a representative of the sun  C , and finally the rectangular stones over the yellow  D , which are made up of exactly the same rectangular additives, which are to be seen over the white D.

The frame is the second aid, which was used, in order to deepen the flying impression.

The picture frame actually consists of two matt finished acrylic glass plates, the so-called Plexiglas.

Both plates are connected by some tiny, transparent silicon screws. By this means they hold the image area, in our example the industry paper with its rough surface.

Plexiglas is a registered trade mark of the German manufacturer Röhm who belongs to the Degussa concern.

The label is strictly speaking the generic term for a multitude of industry products, which are made of acrylic glass.

Under over 50 products, which are manufactured today in the factories of the concern at the city of Offenbach, I decided in favor of the Plexiglas from the series Gallery. These are very light, unbreakable plates, which are UV resistant and are able to block any direct light irradiation and hinder any reflection.

The finish of the idea permits the out-standing attachment, with the especially long screw connections, both these, which are in the frame, and those at the wall.

Together they make up a distance between 10 and 20 cm of the hanging picture from the wall, and are a further important detail for the realization of achieving the flying effect.

As seen in the illustration, the section of the wall and the picture are selected with the utmost care, as well as the place of the necessary attachments on the back of the frame. Here it was also very important to keep the attachment completely hidden to the beholder's eyes.

That is how the shades look like wenn falling on the wall by daylight.

Both the cavities, which are integrated into the surface of the creation, and the transparency of the frame, permit the light to fill out the whole creation and to enclose it from all its sides.

Strictly speaking the light is becoming an integral component of the work, both in the concrete and in the abstract sense of the word. It projects the shades of the windows of the picture, the shades of the frame and the screws onto the white wall.

As a result of this, there is the feeling of width and this produces the illusion of flying, which gave the technique its name.

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