Emotions , spontaneity and generosity
Bärbel Ricklefs -Bahr is a painter who dares much in her pictures . You do not plan in advance, but relies on its spontaneity.
The artist needs a certain amount of freedom , generosity and unlimited nature to their idea of art meet. She wants to form with colors , opposites lead to harmony .
Without coercion or pressure to follow their own inner drive and goes after her inspirations . She works informally , can not be restricted by rules or styles. Your art comes out of the painting process .
It may well be that in a work that was begun abstract, finally emerging representational and is the subject. It is far off , narrowing the viewer. You want to trigger emotions, feelings awaken by the works underlying color, there to be discovered by the shapes and the exciting and varied surface design.
The viewer can and will find its own access to everything when he gets involved with their pictures.
To immerse themselves in their work is like meditation for Bärbel Ricklefs - Bahr.
Sometimes she wears only colors on to the canvas. It confines itself to create an almost flat composition that emits the voltage while harmony.
Even the primer always falls different - depending on the emotions that move the artist just - sometimes rather light , sometimes dark . Unless she used acrylic airbrush colors and scatters in addition colored pigments on the surface that is visually and plastic lift out like little points of this .
A special campaign Ricklefs -Bahr with Chinese ink . However, it also accesses pins such as graphite or charcoal and drawing with chalks to set softer and duller lines or surfaces against Shiny and Smooth . Even in such a limited to a few materials mixing techniques compete much with each other , for almost any haptic and visual quality , there is a counterpart, a counterweight - and yet many this results in a harmonious order .
The balanced diversity makes it clear that the artist draws inspiration from her long spontaneity , but familiar at the completion of their works on their experience and in-depth knowledge of the effect of certain means and methods . On the spontaneous act follows the well thought response.
Experiment and search
Ricklefs -Bahr estimates the experiment , the time and Aufbauakt , the process of gradual development of an image. In addition to reveling in colors on large formats loves the free use of tools and materials that make the painting alive , appear complex and can pass into the third dimension.
In the choice of means , there are no limits for them. You will always find something new, which is suitable for the establishment and implementation of their ideas.
Everywhere she is looking and will find it . That is also what propels them in her paintings - she feels as seekers who has long since not been appropriated everything lends itself to a painter.
They often use the same after priming their collection of material in order to obtain structures and patterns , elevations and depressions on the painting surface . Gradually, the result is a layer adjacent to and above the other or there is selective , linear or planar again removed color.
With the spatula , the artist brings example Plaster, concrete or similar material filler and scratches on superfluous again. While it results in a rather smooth hills , they used just as happy Bimssteinmörtel , marble dust , scatters sand or ash with a - ie materials that produce a duller , rougher or grainy surface.
Still gross up stones and slag mix in and are clearly indicated in the upper layer . Iron and rust , because of their different stains used. The Moor liquor has particularly impressed the artist because it allows very gentle and depending on dilution almost transparent browns.
Supplies are abundant localities for them , provide resins , bitumen and shellac - more flowing substances , spread almost by itself on the ground and when they are fixed , appear smooth and shiny. In addition, these as wood glue and acrylic binders are used as adhesives and thus secure the inserted by Ricklefs -Bahr collage material.
Everything that can be applied to the canvas to apply and helps to change their surface, ie to shape , expand into the space or to make it more interesting , irritating to the artist.
She pushes the edge of the spatula several times in the still moist filling material , so lines and patterns. Some dipped in color matter, such as Bubble wrap , leaves behind a wonderful impression pattern on the canvas. Torn or cut Wellpappstücke , embossed wallpaper , lace pattern or fibrous papers, and scraps of cloth and threads are integrated into the painting and then cover again or painted over glaze . Fragments from discarded plants get new prestige through their involvement in plastic images . In between, the artist works with spray technology , brings the toothbrush at a point color and dissolves elsewhere by grease, oil , alcohol , water or rinsing a part of the already established again. Each agent provides for an effect. Time drips color , sometimes a surface becomes porous and brittle. One area after another gets its own note.
From the initially flat painting surface is gradually a pattern whose details are hardly grasp at a glance in their richness .
Abstraction and perception
No work is like at the end of the other. Even the range varies considerably . Looking at the works of the artist in succession , then switch subdued color images from the works of brilliant color or pastel colors. There are also compositions in which opposites as the Restrained and almost Intrusive are united .
Since join to bright colors like red and yellow and white, and black in different weighting . Increase depending on the placement and expansion or do they limit the appeal of the primary tones . Time , the artist tends to be warm colors , sometimes to the rather cool blue-green tones and sometimes she prefers earth tones .
The shapes also vary . Except for minor geometric shapes - circles and rectangles , which in part is turn out to be pasted collages - and how Füllsel acting letters or numbers are in the dominant pixels around freely developed from color abstract entities of different sizes which animate the canvas. Often they stand out vividly on a white background.
In outline , the artist dispensed with their abstractions. It prefers soft edges , the slightly frayed at times . Some of the color forms go to other on , join forces , thus gaining substance and validity .
However due to the different color values and characters arise an amazing depth and dimension , a front and rear confusion of forms. Compact body and delicate lines are opposite each other in space and overlap.
Despite the abstractions you mean but here and there to come to something objective : faces , body parts , broken edges of a landscape or a deep ravine .
Our experiences and memories can not easily hide . The mind turns when viewing pictures with a , influences perception . So our eyes studied in informal art involuntarily something we know - and will find it quickly in the richly furnished material images by Bärbel Ricklefs - Bahr.
The striking structure and raised surfaces of her works are reminiscent of the existing multi-layered earth with its hollows and hills . They act as if they were already old and shaped by time. Traces of injuries , scars and weathering are emerging on these . One discovers inclusions of stones and metals, and prints that seem to point to life.
In addition to rougher and duller surfaces can also be seen shining or dazzling - as you discover reflections on water or the illumination of crystals on snowy fields in the sunlight.