I grew up with the paintings of my grandfather Waldemar Güttner, who has been a Tirolean modernist. In my grandmothers flat as well as in our house have been loads of paintings, plastering the walls and stored everywhere which had a vast impact on me. I never got to know my grandfather as he died long before my birth, but always felt a connection and started drawing at an early age. As a teenager my favorite artists were Toulouse-Lautrec and Renoir. As long as I can think I was mesmerized by portraits, thinking of what the life of this person must have looked like or how the person must have felt. I still do feel the same way. Also I was magnetized by colors and extensive picture size.
I am an esthetic person and want paintings and art in general to embellish people`s everyday life. That doesn`t exclude me wanting people to reflect on our mainstream and political life as it is a part of this, our generation. I don`t want to judge, but rather point out. You can find this demand in my first Cuban series where I just showed the sheer happiness and fondness of being alive. That is what I witnessed in Cuba despite the lack of any materialism.
My Russian series shows an imperial upbringing and exploiting of these upper class kids. The reaction of the Russian men, whom I knew, showed me that I have done a good job, because they didn`t want to look at their kids as a cloned minicopy of their wives and themselves! They thought it shocking and dingy. Recently I started a series of „city-souls“ and a new one with a political female statement due to the fact that masses of refugees are coming to Europe with a totally different lifestyle and religion… So you could say that my artistic statement is to show feelings, emotions or maybe better the spirit of this age by letting people intrude into ones character – let it be a person, a town, a landscape… a little glimpse of history or past. Regarding my technique: I am currently working with acrylics, scrape knifes and revising the painting with tiny little pieces of magazines creating a collage. For me it is sort of puzzle to create an impression at first hand which proofs wrong at the second sight for the observer realizing that in fact the picture molders in many dissimilar pieces of paperwork. There is always a second truth, always two sides of just one coin.