cannot be directly assigned to the time theme and are therefore not
discussed here. The series Graphis Varia contains all the graphic works I
created simply for the joy of working and which cannot be assigned to a
particular thematic area. They were often created while trying out a new
technique of printing or while testing a printing machine as to its suitabi-
lity. They comprise, for instance, the serigraphs of the series Koden-
macho, which I created for my exhibition in Tokyo in 1990. In addition,
they include etchings, serigraphs and embossed prints that I have given
my friends over the course of decades. Last but not least, I would like to
mention the series Photo Varia. It contains photographs I took without
having to be as disciplined as is necessary when working on a cycle of
photographs. Some are from the area of sculpture photography which I
especially cherish, even if they perhaps do not belong to the category of
“photo art”, because the art of sculpture is already its origin.
Chronology of my work
Although I originally wanted to become a metal sculptor and took classes
in construction drawing during a metallurgy apprenticeship between
1954 and 1957 and also learned how to forge and weld, I began my arti-
stic career in 1956 not as a sculptor but as a photographer.
Photographic series comprise the greater part of my existing artistic
work. If I were allowed to be active in only one genre of artistic work, I
would choose photography – back then and today as well. It was not until
1972 that I also started working graphically. My first graphic works were
screen prints made from photographs. Woodcuts, etchings and offset
lithographs followed. In 2000 my old love of metal came to the fore and I
made my first bronze. The colourful metamorphoses were created in the
new millennium. The same applies to the photographic series Home of
the Gods and Beginning of Time.
In 1998, together with the Lübeck gallery owner Frank-Thomas Gaulin, I
was able to show my first works with the theme of the scale pictures. That
was for the graphic exhibition Art Multiple in Düsseldorf. There I also
showed several friends my first time tunnel. The technical execution was
still not yet perfect. However, the second time tunnel – which now in
1999 was improved in its execution according to Gaulin’s suggestions,
attracted the interest of several collectors.
The aim of my more recent photographic work is to create small-format
collector photographs in sheet formats ranging from about 30 x 30 cm to
50 x 60 cm and, in addition, large-format pictures sized 110 x 130 cm or
110 x 110 cm and larger from edge to edge. Moreover, I would very much
like to publish books of photographs and thus make what I have created
up to now accessible to a larger number of people.
Conclusion
In this essay I have briefly outlined 50 years of artistic work. Devoting
myself to several complementary fields has always been more important
to me than making an artistic mark in the sense of a unique, distinctive
iconography. However, I am of course pleased when an occasional
beholder recognises the common thread running through my work: the
search for artistic expression of the phenomenon "time" and the effects
on our existence connected with it. Most interesting for me in this
context are the Stone Age architectures and their outlasting every human
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