Roland Schneeweiss: Getting to the Bottom of Dimensions
Roland Schneeweiss (today again: Bulgaria) at work in the gallery „pro art“, in the year 2000 in Bremen, Germany
Getting to the Bottom of Dimensions
Roland Schneeweiss – in the middle of two works, of which there are worlds lying between!
This was my spontaneous thought when I had found the photo of that time – from the year 2000! And I have decided to discuss exactly these two works by now.
On the left side of the photo, a part of one painting can be seen done by Roland Schneeweiss (R. S.). The look at the work of art as a whole confirms that this is a vertical format (as is obvious on the following illustration):
Roland Schneeweiss: „Without Titles“ – – – Acryl on carton, approx. 60 cm x 80 cm – – – Worked in the gallery pro art, Bremen 2000
The painting appears like an abstract composition first, determined by orange, yellow and black. Of course the eye can partly agree on thoroughly human shapes shadowy when looking exactly: Out of the mainly in orange put perpendiculars further vertically ones peel themselves in tertiary dark tones, as smeary and then again to the mixed black. All these indicated person fragments in an upright posture get a powerful dynamics by a rich orange. R. S. mediates with that to the observer that they perform on a high level of excited energy, suited to the outside. It cannot be located, these persons, in which concrete situation they are. Their atmosphere seems to be determined of a decided will to activity – almost so, as if there is nothing else that counts and that is not perceived either. A tunnel-look therefore, which – as a rule – blocks the view for the essential part. Such an attitude of an insulated perception converts any action to a pure actionism. Dark shades up to the black can hardly limit the energy of the persons acting. This promises nothing good, that shows the yellow of the bright environment which is dulling itself into feeble tertiary colors. Dark ‘soul birds’ are fluttering in the upper area over the indicated heads on the left picture half, like also on the right side of the upper picture-part…
Now, my glance falls on a dynamically put brush trace in white (coming from the orange of the left picture part towards the picture middle down to the lower picture edge), what seems as if pulling the floor away from the shapes from the feet. And I gain spontaneously the impression, as if the picture is but a small “flash” to then disappear again! – A thought flash?…
R. S. underlines his statement by an expressive way of painting, which – in this form (without spontaneously put lines for example) – is highly atypical for him.
I turn now to the right side of the photo, where another painting of R. S. is partly to be seen, being just as atypical for Roland Schneeweiss:
This photo part shows Roland Schneeweiss with the painting, of which only a part is on the right side of the photo. Unfortunately, I do not have a complete photo of this picture.
Completing this painting in thought towards the right side – beyond the outside of the photo-edge – one recognizes a landscape format. Therefore, such an intellectual addition is possible, since, like a formal study, it produces an obvious design principle: The painting is determined by color traces going mainly parallel in a horizontal direction. The color graduations move mainly in the secondary and tertiary color spectrum, between green, blue, yellow. The different nuances and brightness degrees remain, however, within the dimmed spectrum… A dynamics – as we experience her when looking at the first picture (in the vertical format) – cannot be felt at this picture. This brushwork as a meditative one (supported by colors‚ which want ‘to creep away’) appears unlike the picture in orange (with its expressive coloration put in a dynamic way). With that, this picture appearing experimental leads us to inside. And therefore, I see a counterpoint in it to the first painting.
It is as if R. S. – in these two paintings – has tried to get to the bottom of dimensions, on the one hand of ways of painting, like also on the other hand of contrasting human behavior ways, the reality plumbed on… In every case these end-points (of opposed ‘to the outside totally’ or ‘opposed inside totally’) are extremes. A durable stay (of human behavior) at these end-points could lead to misconduct (to the outside) or to illness (to the inside). – A statement giving an annoyance for interpretations in all sorts of directions!
In conclusion, I would like to interpret a work of art of Roland Schneeweiss that does correspond with his typical way of artistically forming:
It is the work “Sonata” that R. S. already 1995 had worked. At first, the title “Sonata” has raised the question with me: Is it a pictorially felt movement of music with its color sounds? But the look at the picture shows a female person in the portrait – represented in principal by lines. These are the lines which are typical for the design-way of R. S.
In the following now, I would like to work out the statement of this picture:
Roland Schneeweiss: „Sonata“- – – Pastel drawing on carton, 1995 – – – Presentation of this work in the gallery then „Psocho“, New York City, USA – – – Since 1996: Private property (in ROW, Germany)
Typically for Roland Schneeweiss are the dynamically placed expressive lines, put with a precise idea at simultaneously high inner presence. If one knows this, all the more intensively one feels with which restraint and sensibility R. S. has set the lines forming the hearing person. She is carried by vibrations and rhythm as can be recognized by the lines. In her posture, a tension can be perceived while totally devoting herself to the process of hearing: The inner tension concentrates on ‘hearing’. Even the sound waves which – in the brain – are realized into tones, R. S. has visualized. The hearing person, while becoming one with the hearing experience her energy goes inside, but her energy, suited to the outside, she has not let tired, however. R. S. indicates that she has nevertheless stayed in the possession of her complete tension by setting those energy loaded gestures which can be seen next to the person on the right. The activity-part of her energy is there virtually in the ‘turning loop’. – – – So we see a person who masters her personal energy to the outside, like also inside sovereignly in a way suitable for the respective situation. With that, for me the two pictures described above show in a special way that extreme behaviors are outside the real personality (no matter being suited to the inside or to the outside): The structure which agrees on a person seems to have disappeared (therefore the missing lines)…
Obviously the contribution of art is it, to bring energies into harmony with each other to inside like also to the outside and, by this, to produce a particular ‘architecture of lines’. In this case, the represented person is a listener in an audience in the field of the music. Though, more thick at ‘the source’ are the art creating persons themselves. In connection with this, the music is merely an example for all other directions of art.
The “Sonata” is a wonderful work, borne by the immediate mode of expression, the „lines“, as they are typical for Roland Schneeweiss… Interpretation: Renate Hugel
To the Person of Roland Schneeweiss: Roland Schneeweiss, year 1935, had studied at Sofia’s academy of arts. In the year 1965 he completed his studies with award as a diploma graphic artist and illustrator. I have further details for his career under “Art Touches Art – 8” listed at the end of my interpretations I + II. Renate Hugel
Remark: Current stand: To Roland Schneeweiss I have written under “Art Touches Art” the contributions “Art Touches Art – 8” and “Art Touches Art – 14”. Renate Hugel