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Artist Statement:
There are two important
force-fields which exert an
effort on my artistic work -
firstly, the European painting
and printing tradition, which
is particulary visible in the
form of expression and the
formal aesthetics of my work
and secondly my understanding
of artistic creation, which is
influenced by the spirit of
Chinese philosopy in
particular Daoism, and relates
to the traditional approach of
chinese ink painting.
My intense studying oc colour,
and the exeptional
significance I attach to it,
have their roots in European
tradtion. I use an unusual
wealth of most different
colours - earth colours and
mineral colours, hundreds of
pigments of natural earths
colours, ground minerals as
well as plant, animal and
modern organic and anorganic
colours. In my experience
natural colours are more vivid
and have a much larger
spectrum than artifical
colours.
As the centre of my aesthetics
is harmonization - a
harmonization which relies on
the Chinese concept of Yin and
Yang, in which opposing as
well as complementing elements
are taken to be a natural
whole.
It is perhaps the specific
spirit which has to be
underlying in order to master
ink painting. If painting is
unterstood as a specifiy way
of expressig comprehension,
then ...
Further Information
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Artist Exhibitions:
One man exibitions (
selection):
1972 Galerie Aridane,
Cologne-Germany
1975 Galeria Gaspicara,
Quito-Ecuador
1990 Drachen Galerie I and II,
Bonn-Germany
1992 Embassy of the CSFR,
Bonn-Germany
1992 Frohnhof,
Leutesdorf-Germany
1992 Goethe-Institut,
Dublin-Ireland
1995 Galerie Uluf, Prague-
CSFR
1996 China Art Gallery,
Beijing-China
1996 ...
Further Information
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Artist Galleries:
Galerie Kallenbach,Bonn,
Germany
http://www.galerie-kallenbach.d
e
Western Light Gallery, Keel,
Achill Island, Ireland
http://www.achill-island-mayo.c
om/achill-art-gallery.html
...
Further Information
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Collections:
Coming Soon!
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Commissions:
Coming Soon!
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The well know Chinese critic Liu Xiaochun: Rene Boell has found an authentic form of expression in his works with chinese ink, as regards brush technique, structure of the picture and composition. He is penetrating deep into Chinese culture and comprehend it. This attitude distinguishes him completly from other artist wo dealt with Far Eastern art. Artists like Hans Hartung, Franz Kline, Robert Motherwell, Henri Matisse, Joan Miró, Jackson Pollock, Pierre Soulages, Antonio Tąpies and others used Far Eastern Art as a quarry, but they paid little attention to ink technique and the philosophical backgrounds.
Other critics:
This beholder of landscapes painted in egg tempera and oil is inevitably attracted by the atmospheric effects of light produced by the colours, which sometimes appear elevated of mythical heigths and give the actual theme of the painting a mysterious, hermetic character. Echoes of the metaphor-like use of light and colour in Turner's later painting come to mind immediatly but also associations with the powerfull rounde and fluid forms in Edward Munch's painting are induced when looking at these barren shapes of landscape in dark, earthy tones.
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