Of course, both contain the pictorial materials of the sources you mentioned, even though I may not address them in a conscious manner. What were the most important changes in your life? How was your work affected by the socio-political events that followed the fall of the Berlin Wall in 1989 and the opening to the capitalist world? I should try to find it and show it now.

As a painter, I try to systematize the irrational, and to do that in painting after painting. There seems to be something happening at the embankment that’s dangerous or uncanny. Yes, I would go as far as to say I’m a medium, not a brain-guided artist. I would even go as far as to say that it is virtually worthy of protection for and against a utilization of political programmatic. The works on paper are a bit lighter because I use the opportunity to keep some areas of the paper uncovered. Perhaps surprisingly, he says his most important influence, was Giotto, the late Medieval Florentine religious painter. It was Arno Rink. When I was two years old I drew a woodpecker. In this interview Neo Rauch discusses his use of colour, theatre costumes and also the relevance of fairytales to his work. If, however, he sees nothing within him, then he should also omit to paint that which he sees before him.” Many students use photographic imagery for the outside world, but I always tried to encourage them not to do it, not to use this device because it takes them far from their own imagination. It’s more bittersweet, like the whole life. Working mostly in a stream of consciousness manner, Rauch lets figures and scenarios develop from his imagination on paper. Were you a fan of these forms of illustration when you were growing up? One of the most universally admired painters working today, the German artist Neo Rauch is now being celebrated for his drawings—with 170 of them, spanning some 30 years, currently on view at The Drawing Center. What does the indescribable represent to you? It is material that has not been worn out, that is innocent and above all that speaks to the child inside the painter, and keeps that child alive. I feel insecure about my ability as a painter and my inspiration doesn’t always come,” he explains.

Do you understand the world you live in?

Before he begins a new work, to access this stream of subconscious, Rauch has a ritual. It’s relaxing, like a vacation from painting on canvas. It comes in waves. Do you feel a strong need to communicate? It’s about a longer distance of time. Until this moment I was in danger of becoming an abstract Sunday painter.” By that, he explains, there’s a certain way of abstract painting that anyone can do, using thick brush strokes and lots of colours. Simply click the link and enter your new password to complete this process. Neo Rauch. It could be a whisper that seeks out to me via conceptions or terminology; it could be a coloristic triad that beams at me from my floor on which I blend my colours; but it could also be a nearly complete, figurative and scenic arrangement that grows out of dark depths and arises before me. When I paint, I don´t think, and instead I surrender myself completely to my feelings and to what the canvas demands of me.

Unusually abstraction is also a term applied to Rauch’s work, mainly due to his use of colour, which appears to be deployed for composition and effect. So, I sit in my chair, look at my canvas and sometimes my pug Smilla comes to sit on my knees. It’s not always easy to name them, but sometimes a title comes first; there are certain words that make pictures appear. Once he has captured a figure on the canvas, he has to encourage himself back into that state of meditation and bring out the next element. Felt tip pen and crayon on paper, 8 3/8 x 5 5/8 inches (21.27 x 14.29 cm). “I try to avoid influences of politics, fashion, anything, in my work, I hate this way of misusing art,” he says during an interview at Hong Kong’s David Zwirner gallery. This email address is being protected from spambots. The romantic notion of an artist physically producing work is. Surely, But as his success grows, Rauch feels increasingly insecure. I dream, therefore I am; or in the words of Hölderlin: “When we think we are beggars; when we dream, we are kings”. We could develop our intentions in a peaceful atmosphere, where we could concentrate on having a good time. Courtesy the artist, Galerie EIGEN + ART Leipzig/Berlin and David Zwirner © Neo Rauch, VG Bild-Kunst, Bonn / Artists Rights Society (ARS), New York. Rausch creates his figurative works from a blend of influences and in an abstract-surrealist vein with traces of Socialist Realism.

When you were a professor, what did you tell your students about drawing? I have no plan when I start. Rausch creates his figurative works from a blend of influences and in an abstract-surrealist vein with traces of Socialist Realism. How was your work affected by the socio-political events that followed the fall of the Berlin Wall in 1989 and the opening to the capitalist world? I wouldn’t describe myself as a draughtsman because drawing just happens for me. Neo Rauch was born barely a year before the raising of the Berlin Wall split his country in two and confined him to East Germany, circumstances that shaped his early years leading up to Reunification in 1989. Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting. This means that, as far as the parameters of figurative painting were concerned, the training we received was distanced from ideological precepts. In this interview Neo Rauch discusses his use of colour, theatre costumes and also the relevance of fairytales to his work. Do his paintings represent a form of self-therapy, I wonder?

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