Surprises can sometimes be nasty. With the motto of the work show by Elke Lorenz and her students, however, the name is an explicitly positive program: “Unerw-art-et” is what results when you get involved in experimental acrylic painting without already having a specific image in mind to have. When you start without thinking. Just put in what you feel. When trying out different techniques and surfaces, apply the color layer by layer with a cake server. Or, as in action painting, it pours onto the canvas. Going new ways. And the position keeps changing – both physically and mentally. And be surprised by what the screen shows at the end.
Margot Heidendorf originally designed her picture around this way.
(Photo: Peter Hinz-Rosin)
Sometimes you even have to turn the picture upside down, as happened with “People in the Park” by Margot Heidendorf. During one of the class discussions, the idea of rotating the screen came up – first sideways, then another 90 degrees. And as if by magic, the people to whom the picture now owes its final design and title manifested themselves. “Through this literal ‘unexpected turn’, the painting gained much more expressiveness,” says lecturer Lorenz during the tour of the show, which is still on view in the corridors of the VHS in Vaterstetten and until March 11th on-line you can see.
The final version, titled “People in the Park,” is rotated 180 degrees.
(Photo: Peter Hinz-Rosin)
More than 40 impressive works
Elke Lorenz has been leading the ongoing course since 2018, which is mainly attended by women between the ages of 30 and 70. There is a hard core of “repeat offenders”, but integration is also made easy for the newcomers who keep coming back, thanks to a warm welcome, says Lorenz. You can now convince yourself of the results of the mutual inspiration of the painting students – with more than 40 impressive works by seven representatives of the current course.
Course leader Elke Lorenz in front of her own work, which is briefly and succinctly entitled “Art”.
(Photo: Peter Hinz-Rosin)
Elke Lorenz from Baldham was introduced to art as a child: her father, a master carpenter, built instruments such as the dulcimer and zither in his free time, and he also worked as a hobby painter. However, his focus was on watercolor and oil, which is why she herself specialized in acrylic early on, says Lorenz – “so everyone has their own area,” she adds with a laugh. Lorenz studied art history, theater studies and architecture, and was occasionally inspired by life in the vibrant metropolis of London. She is also a gymnastics teacher, also at the VHS. Yoga and back training are not only a good basis when you stand at the easel for hours, but also practically indispensable for Lorenz: “I think you can’t separate them – when I paint, I’m always on the move. The paint splashes, and I’m making a big mess.”
Very important: change of perspective and exchange
Lorenz will perhaps not explicitly encourage her students to make a mess, although splashes can certainly not be avoided when using paint boldly, for example in the fills. But the painting students should definitely move. On the one hand around your own easel, for a change of perspective, on the other hand like in the room, for the creative exchange with the others. That’s why not only the lockdowns were very bitter for everyone, but also the distance rules were in place. Fortunately, the VHS painting studio proved to be big enough for nine people, even if all the regulations were followed.
But even if the meetings had to be paused from time to time, the work on the pictures continued uninterrupted. With help of a demo videos For example, pictures of apples were created. In addition, Lorenz gave (and gives) impulses in the form of photos sent by mobile. Some impressive results of such suggestions can be seen in the exhibition, using the example of nature photographs from Iceland.
Kerstin Bandow calls her picture “unfinished ice”. A photo taken in Iceland served as inspiration.
(Photo: Peter Hinz-Rosin)
Margot Heidendorf, for example, has transformed this template into dynamic, arctic-blue “icebergs” behind an unfathomable blue-black sea, while Kerstin Bandow’s interpretation of “Is unfinished” immediately casts a spell over the radiant turquoise water. Both works make it clear that an exact copy of the original is not required here, but on the contrary that colors and image composition should be deliberately chosen individually.
“We don’t learn to draw here, it’s not about the accurate ratio, it’s about the soul in the picture,” says Lorenz. This also applies to nudes, which is why you can do without a model. In order to really experience the “soul, swing and temperament” of works of art and to be able to grasp the difference to a print, according to the course instructor, it is best to stand directly in front of the pictures. “Only when you see the actual structure, depth and size do you recognize the individuality.”
The painters tell the story in film clips
On the other hand offers the supplementary online presentation not only a chance to look at the exhibits from a distance, but also gives additional insights: In two films you can experience the painters live, so to speak. The first clip shows them in action, painting, in the second they talk about themselves and the process of creating their pictures. Iris Eichler reports how, after applying the colors, layer by layer, she suddenly discovered a suitcase on the canvas and thus the “Travellers” were born.
Regina Hankiewicz also likes to be surprised at what is created on her canvas. In this case: a “Forest by the Lake”.
(Photo: Peter Hinz-Rosin)
Regina Hankiewicz, on the other hand, reveals that she has only been part of the group for a year – that she has already painted before that can not only be guessed at when looking at her incredibly multifaceted “Forest by the Lake”. Without an explanation, however, one would probably not have guessed that Elisabeth Bisl worked paper into “Ladyleicht”, the image of a magical dancer in a fluffy fleece skirt.
The painting “Ladyleicht” was penned by Elisabeth Bisl. It was sold right when it was hung.
(Photo: Peter Hinz-Rosin)
But the show also shows that some things only come about when a canvas that has already been designed is completely painted over. As with Ulrike Burggraf, whose “Woman in Blue” was initially a forest and then almost turned into a steamer. Or if, like Sylvia Brunner, you have a very clear idea of what the new picture should show – or just not. “No flowers,” were her words, the course leader remembers. well What now hangs in the exhibition are, completely “unerw-art-et”, two stems with delicate, white-red flowers, beautifully draped in vases.
Exhibition “Unerw-art-et” in the VHS Vaterstetten until March 11th during the opening hours, Baldhamer Straße 39, Vaterstetten, 2-G regulation and mask obligation apply. Online gallery and films: on the VHS website,