Thank you for your visit and I am of course also happy if you are interested in buying an original or want to purchase an art print, a poster or greeting cards.

- To purchase an original exhibit as well as hand-signed art prints, posters, mugs,

You can send me puzzles, calendars etc. via my email address (see contact),

or contact my social media profile.

                                                            https://www.instagram.com/materima.krokacz.art/

- You will receive art prints, posters and greeting cards

but also about my partner

                                                              https://www.artflakes.com/de/s?search=materima+Krokacz

F or those who want to learn more about me and my feelings on art the thing:

Guiding principles and information about my artistic self-image

"YES. ABOUT MYSELF, MY LITTLE AND BUT IMPORTANT PERSON. SOMEONE ONCE VICTORY THAT THE WORLD IS A LOT OF DIRT, SOMEWHERE IN SPACE, AND HUMAN BEING AN ANIMAL HAVE CREATED A CAREER.
THAT MAY BE. BUT ONE ADDITION: THIS LUMP OF DIRT CAN BE SUFFERED, LOVED, CRYED AND FULL OF DESIRE.
AND MAN'S CAREER IS - TAKEN CAREFULLY - DOUBLE, VERY DOUBLE. "
(from: Janusz Korczak: Diary from the Warsaw Ghetto 1942. 1992. p. 26)

These words have been with me for decades, touching me

almost every day, stir me up during my observations

and encounters, make me aware of how questionable and

finally everything is. They fuel my determined search

for answers, knowing that the philosophical

Contemplation of Karl Jaspers, after which every answer found

accordingly three new questions arise, nothing else

Teaching can be countered.

I am looking for the answers, among other things, in contemporary painting.
As an artist, I take the freedom to switch between content and forms of expression, depending on my interests.

At the moment it is mainly acrylic painting with all kinds of structuring supplements and mixed forms with elements of digital art that fascinate me technically. The content-related arguments alternate between motifs with socio-political issues and abstractions, fictional or symbolic. The exhibits can be classified in the styles of contemporary painting and modern expressionism.
As a seeker in terms of topic and form of representation, I often switch between traditional mixed techniques and digital processing options, sometimes I then combine digital work with phases of traditional processing or vice versa.
In my projects based on traditional processing, in addition to the acrylic paints applied and removed with spatulas, brushes or cloths, charcoal and environmental materials also find their way into the creative process.

In my mixed-art projects, micrographs in particular serve as the digital basis for further processing. The "alienation" is initially carried out digitally and then (after the printout) also with conventional painting materials.

brief vita:
- autodidactic process since the beginning of the 1990s.
- 1995 and 1997 first exhibitions in Wuppertal
- between 2002 and 2010 other professional jobs

and private orientation
- since 2011 resumption of painting
- 2013-2016 several studio exhibitions
- Continuous and accompanying commissioned work

- 2017 exhibition "37th Exhibition of Rösrath Artists"

- 2018 exhibition "38th Exhibition of Rösrath Artists"

in preparation:

- 2019 exhibition "39th Exhibition of Rösrath Artists"

- 2019 Brücker Art Days in Cologne Brück

- 2020 solo exhibition in the main DEVK office in Cologne Riehl

For those interested, six axioms follow as a guide to my understanding of art and painting as a form of expression, as well as the resulting ideal basis of my work. Of course, they only apply until revoked, because in many ways - here I am very close to the pragmatic understanding of John Dewey - the truth is only something temporary. ;-)

1. Axiom: Art is vitality and dynamism, ...

... a feature of the individual grounding on the one hand and belonging to the moving whole on the other. It reflects artist and viewer alike their own vitality in dealing with the real. Art creates emotionally saturated and subjectively interpreted images of reality. Casually designed exhibits of my freedom in the magnetism of constant quarreling with Koyaanisqatsi and Mamihlapinatapai are an example of this.

2nd axiom: art is fragmentary, ...

... as such, it grants a snapshot through the artist's eyes, creates a lasting impression of the past or present. Or she creates a vision of the future.
The exhibits bear witness to a dynamic act of confrontation between the artist and the environment. Initially in the planning phase, possibly emotionally often also purely rationally, in the practical implementation then additionally physically.

3rd axiom: art is a mirror of the soul, ...

... which through its characteristics and sharpening

Socialization, means used, chosen perspectives

and finds motivational interests, making objects

arise that are subjectively formed and unique in their

Statement also about the artist.

In the individual plants are doubt and hope,

individual brushstrokes show the failure of others

Profit, every exhibit is emotional to the artist

bound and the separation is difficult when it is the

Memory of a special creative process or

Life moment in itself.

4th axiom: art is relationship, interaction in a time-equalized framework, ...

... because through the interpretation of the viewer, the indirect and non-verbal interaction takes place between people, which just and often coincidentally brings together the pleasure in the tension of art at this moment.
This contact connects people (even if they may never meet), even if they go different ways again minutes later. Art takes this time. The more pronounced in quantity and quality, the more intensive the exchange and the bond.
This fact alone gives rise to the political aspect of art, which Joseph Beuys, among others, called for many years ago.

5th axiom: art is conflict and provocation, ...

... very different from what beautiful colors and shapes initially suggest.

Since dialogues between viewers and artists inevitably

are littered with differences, nourished by conflicts, from the individual

len intention of the creative on the one hand and the equally individual one

Interpretation of the viewer on the other hand.

While I express my opinion as an artist in the form of the work, however

the viewer must tacitly endure them. This is where it lies

Provocation. This then possibly hangs in one of the private rooms

The provocative extent increases again by the acquiring party

Intervention in its intimate sphere.

In art, the viewer's interpretation fuels a silent conflict.

This can very well be constructive, for example motivating,

stimulating, thought-provoking or critical, or the

fill any apparent emptiness meaningfully.

The ambivalence of the entire work, in addition to the material exhibit

both the creator and the viewer belong, leaves behind

a tension that has to be endured.

Not least because of this, art is often difficult to sell. Therefore need

Artist probably soul mate. Who likes to get an opinion?

someone else's house when he doesn't even know who that other person is.

Who else hangs this opinion on their own wall and lets it appear unswerving from there? It seems much more homogeneous if he / she could design his / her wall according to his / her own idea and opinion. In most of the "four walls" there are mainly photos or results of the art of family members or works whose statements seem uncritical or are without essential content. The type of printing that is thriving in all of the major department stores confirms this. They all do not represent a provocation, but provide harmony and / or family idyll.

6. Axiom: Art, especially painting - leaves traces, ...

... because unlike the occasional temporary work of books, acting or music, painting, photos and sculpture often remain long-term and permanently present. They permanently occupy the visually comprehensible space and develop their expressiveness in a suggsessive way. That is a special form of abundance of power. And on this basis, art leaves a trace. As with the exclamation mark in a story, the creative representation creates an individual signature of an idea of ​​the past or future. The style and color create a unique stamp that distinguishes the result from the real snapshot of a photo.

My personal vita and the resulting perspectives are primarily shaped by the humanities and social sciences. My motifs are often the results of subjective perspectives and analyzes in the socio-political context, acidified with a pinch of philosophical impetus. Set in the scene between objectivity and abstraction and often figurative, they ultimately only clarify my very own truth or fantasy.
I intentionally try to set impulses, initiate, convince, provoke or even reconcile through my artistic activity.

For me as a politically interested artist, it is often essential to supplement works by writing down the underlying thoughts. This supplement serves observers after viewing and interpreting the work to the possibly desired transparency about my motivation during the creation and my intention to make a statement.
The beauty of art is literally in the eye of the viewer, but the political value of art is much more in the viewer's engagement with the depicted motif and the artist's intention to make a statement.

Thank you for your attention and with the

best wishes for the future, greetings,

M. Krokacz / Matthias Kronz