"Direction from above" - comment of Luzius Ziermann

 My paintings here are designated by geographical latitudes and longitudes. 

But they might also represent a piece of skin, as seen under a microscope, a blood vessel, a hair, a fingerprint, the footprint of an elephant or the tracks of an ant, water in motion, a leaf, ...you name it.

I painted them first, and only after finishing them, I browsed through an atlas in search of a place, a landscape or a mountain range, that might be described by the painting.

Any form or shape can found anywhere in nature, on a large scale or on a small scale, in the microscopic range or in the macroscopic range.

Structures that we find in the tiniest of plants or animals, exist in the vast reaches of the universe as well, and vice versa.

To us, they appear either large or small.

But who is to say wether they really are?

What is the proper point of view, in absolute terms?

There cannot be a “true“ , or  the true size of an object.

Millions, billions, trillions of endless possibilities.

But he number of forms remains finite, as no new form can be added from the outside.

Creation has provided any possible form.

I, form my part, copy them by opening myself to every option. I capture them and fix them.

I document  their infinite universal validity.

And even if  I did describe  or show new forms or structures in my paintings – even they would have been considered and predestined by creation and would have existed as an option long before my attempts to realize them.

The act of creation is one single sensation of high tension.

It may last weeks or even months.

The first excerpt from the endless series, „Direction from above“ („Weisung von oben“), was produced over a period of about 18 – 20 months.

In between; I ate, slept, exercised, went out with my girlfriends, or got annoyed by something or other.,

But ultimately, I felt charged at all times, actually living with my mind in the studio, with my paintings. And my main sensation at the time was,  that I could not make any mistakes.

I knew, that everything I did was right.

I did not even think about it.

No matter how I started, concluded or ended it.

Confidently I treated my canvas  with brooms, rollers, brushes, rocks, or hands.

Coincidence popped up only, where I allowed it to appear.

Apparent failures became fertile soil for what turned out perfect in the end, complementing the piece of work  as a whole.

In a few days I willl start again.

It has been a long break. And I always feel an emtyness, when I do needful things instead of painting.

I know exactly what it will be like _ like always; 

I will be start by sneaking around the canvases, doing nothing. Just looking.

I wont even change my clothes.  And then I ` m at it again, and I won ´t be able to stop.

The thought alone makes my heart throb and excites me.

And by no means in a non-erotic way.  I can see a vast range of possibilities in front of me.

With each new picture, they are becoming more, not less.

They grow expotentially, so to speak.