Heinrich Dietz – Rubble and Fodder

Heinrich Dietz

In contrast to reductionist tendencies in twentieth century art through which means, media, and parameters of artistic work were investigated, isolated, and sorted out, a contrary strategy is strikingly evident in your oeuvre: the maximum utilisation of a variety of those means which are traditionally available to painting. These include the representative function of painting – the figuration and construction of an illusionistic pictorial space –, borrowings from classical iconography and symbols, an extreme wealth of detail in the monumental paintings, but also composition, tonality, and modulation of the oil paints. What is the motivation for this assertive reactivation of painterly means?

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Jonas Burgert interviewed by Claudia Stockhausen

At the heart of your work lies a fascination with the grotesque, mystical and fantastic. Each painting is like a carefully constructed stage of an opera or circus, set up with dramatic lighting, exotic costumes, stage props and make-up. Shamans and magicians, giants and dwarfs, demons and harlequins, creatures dead and alive populate the artificial world you evoke. What is it that makes this subject matter so enthralling to you?

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“Tote Harlekine” ZEITmagazinLEBEN vom 06.03.2008

Tote Harlekine
Jonas Burgert ist auf dem Weg, einer der wichtigsten deutschen Maler zu werden. Die Nacht und die Langeweile helfen ihm dabei.

Jetzt, am Nachmittag, sitzt ein erstaunlich undüsterer Jonas Burgert auf diesem ranzigen Samtsofa, breitbeinig, Zigarette in der einen, Feuerzeug in der anderen Hand. Er ist ein großer Mann mit großen Händen, 37 Jahre alt, Fünftagebart und wirrem blonden Haar. Er habe erst mal ausgeschlafen, sagt er, lacht kratzig und trinkt einen Schluck aus seiner Kaffeetasse. Hinter ihm an den Wänden lehnen Riesenformate, hoch und breit wie die Stirnseiten der Fabrikhalle.

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