Klaus-G.Hinz about Klaus-G. Hinz
One of my greatest uncertainties in relation to my art was my way of working. I always had the feeling that my shades were too unpolished or my lines were not just enough or that the details were not as good as I had imagined!
It took a while until I realized that all of these things I thought was crap are actually what my art gives their identity.
I guess it is difficult to accept your style, especially nowadays when everything seems to be so fine on social media, but the truth is that it will be difficult until you accept and accept your process, grow!
After I accepted my process, I realized how easy it can actually be. But then I felt paralyzed after further searches and couldn't continue working. I personally think that's a shame, but what should I do? That's how it is.
Then I ask myself: what should I do? Work on or better stop? This is not an easy decision for me.
When I talk to someone about it, I often only get the answer: "Picasso has also worked until the end of his life."
Well, after all, I'm not a Picasso!
Despite all the uncertainties and comparisons with great artists like Picasso, I realized that everyone has to go their own way. It is okay not to be perfect and feel lost in your creative process. Perhaps it is time to simply do what I enjoy without constantly measuring me with others. Ultimately, I am not how famous or talented, but that I live my passion for art and develop myself further.
Hopefully!
His art reflects the balance between....
"Klaus G. Hinz, an abstrakt-expressive artist, lives both in Bocholt, Germany, and on the Indonesia island of Belitung, where he has worked for around twenty years. His art reflects the balance between the western world and the tropical environment. He has had exhibitions in Jakarta, on Belitung, Bocholt and in various European countries. His works seem to be inspired by the cultural diversity and impressive landscapes and cultures of both worlds."
Acrylic paints, combined with pastel chalks are often applied in several layers, so that the new work is given a compact character. By generous application of the color with a thick brush, hands or other aids, larger formats were required. This underlines the impression of uninhibited spontaneity and makes it clear the striving of Hinz to vary and expand its expressive potential.
Colors, shapes and lines are applied to the painting ground without a reflection, without previously developed conception. Colors and shapes no longer serve as illustration, but they represent themselves, i.e. they act out of their own value. Whether a line is regarded as static or dynamic, a color is considered dominant or reserved, is based on its position, its size, its relation with each other. Proportions and distances and the resulting tensions make up the quality of this work.

Klaus-G. Hinz chose blue, white and yellow for the new work, which leads to another abstraction of the pictures. The new choice of colors and the structural arrangement of other image elements hardly allows associations to be objected. The artist thus frees himself and the viewer from the narrow limits of a supposed objectivity of reality and instead provides an image composition open on all sides, which must be filled creatively by the viewer. The viewer is almost provoked to look for extra -references to extraordinary realities. The connex between the artist, work and viewer is produced by the compositional structure, which is characterized by great content and formal openness. The waiver of traditional composition schemes as well as recognizable styles reflects the fragility of the modern attitude to life, which is considered to be a way of life and thus also art. Precisely because nothing is definitely in these pictures, you can become a unique experimental field for the viewer's imagination.
The work of Klaus-G. Hinz is still the most likely to be assigned to informal painting. This artistic direction of abstract painting sees itself as innovative when it avoids any recourse to before or next to the picture. Neither the world of objects nor any aesthetic norms are binding for informal. Also, their representatives are not concerned with bringing their own work into a relationship with history and to the previously done, otherwise the openness of the wording and formalization of the sensations is not guaranteed. However, it is an essential concern of informal art to express the sensations by spontaneous applying color stains. The images of Klaus-g.hinz clearly show that the emotional expression of spontaneous painting acts is always linked to the knowledge of the language skills and self-expression of the material.
At the moment of their spontaneous emergence, colors, shapes and lines unfold their own dynamics, which gives the individual image its exciting structure. Each work is therefore the image of an expression that bundles a sensory process in picturesque concentration. In this respect, the visual language in the artist's works must be understood as a unique and irretrievable setting.
However, this does not conclude, but rather makes the temporary and current situative as the beginning of a further work act not only experienced, but absolutely necessary. Also in the fact that the compositional structure of his images is characterized by great openness, the artistic proximity of Klaus-Gh.hinz is also evident. His action pictures are more than a mere expression of his individual unconscious. Rather, in their conscious avoidance of content and formal bonds of the ubiquitous tendency to resist. The fantastic images of Klaus-G.Hinz created free of all rules are likely to encounter the interest of an artistically ambitious general public. The formal openness of the pictures can stimulate the viewer to independent associations and thus makes him a creative partner of the artist.
Annemarie Heibel Translated by Geoffry Rule
Under the impression of several trips to Indonesia, Klaus-G. Hinz created numerous pictures in recent years. A selection of these works - small -format work on paper, carried out in mixed technology - is presented here. These are subject -free compositions that must be assigned to informal painting.
The term “Informel” has become established worldwide for an abstract art direction, which formed in Europe (especially in France, Spain and Germany) and in North America after World War II and which has experienced a renaissance in recent years. This picturesque tendency is characterized by the rejection of fixed composition rules in favor of fictitious, spontaneous lines, rhythms of color stains and structures.
The strong impression that the Southeast Asian cultural area and the way of life of its people on K.-G. Hinz left, changed his consideration and attitude towards many things in life and thus also gave his artistic work new impulses: K.-G. Hinz immediately explains his pictorial imagination in the compositions created after the Asia trips, reflects his artistic skills and the means of his medium inherent. Color, shape, spatial interval and structure open up from now on to the image space. No longer strives to depict something in question, K.-G. Hintz now entirely on his intuition and his feeling.
However, artistic talent plays a crucial role: In order to combine the vibrating lines and color spots into a rhythmic and harmonious composition, it must be the unmistakable feeling for measure and proportion, for the weights of the colors and shapes Trahttps: //designe.microsoft .com/editorgen. Since the preparatory planning in this work is missing, the creative power of the K.-G. Hinz as well as his nature and temperament revealed. Like his personal handwriting, a picture becomes a mirror of his personality and expression of the individual mood when painting.
Like K.-G. Hinz explains that these works arise spontaneously, they “develop” while working. The first color orders often determine the future image, they indicate the "direction" that is followed up: a material that has been chosen, a drawn line, a loosely applied, calligraphically -looking brush train require a consistent continuation of the path taken. Color forms and color lines also require counterweights, so that a balanced, optical balance in the picture is created.
In this intuitive approach, pictures that associate objective, specifically Asian landscapes are unintentionally associated. Triangles and squares form to mount or volcano rules, houses or huts that are arranged individually or in groups. Round shapes allow associations of rocks and sun, "paths" lead the viewer into the depth of the image space. If the colors are often applied linearly, so that outline lines dominate pastos apply in other work. On closer inspection, it turns out that these color areas are structured in several layers that are stored on top of each other, so that the colors underneath shine through, which leads to fatigue, diffuse effects.
If these fictional landscapes invite you to hike and linger, other groups of images are moving, they radiate dynamics and restlessness: rows and rhythms of color forms plunge vertically or in diagonal directions. In the colors, often stronger than the "light island landscapes", this work evoked exposed energies of lava flows or water masses.
The broad spectrum of topics can only be indicated by the examples outlined here. The viewer has to go on a journey of discovery and will be confronted with architectural figures, flying dragons, vegetable elements as well as surprising and familiar. The compositions give the viewer space for their own imagination. But the positive mood of the work will always make access to these works easy.
Annemarie Heibel Translated by Geoffry Rule
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