Drawings
Eastern brush-painting with its dissolving lines and shapes which differ from strong statements to passing dreams hinting accessory emptiness instinctively seem to me as a respectful handling of the mystery and inadequacy of life.
Willigis Jaeger
Since I started my career as a ceramic artist in 1994 I have admired Japanese ceramics, and my drawings are often inspired by Eastern brush painting, too.
My ceramic collections Yin Yang with black and white porcelain as well as The new Delfts Blue are for me an expression of the vividness of life through the stray combination and the contrast of the two different types of clay. And when I apply two different glazes on top of each other, I often achieve surprising results through exiting, vivid surfaces and a depth in the glaze, which for me again reflects “the mystery and inadequacy of life”, how Zen master Willigis Jaeger so beautifully describes it in his quote.
My ink drawings ANNUSCH’s Diary, mainly created in Kathmandu, are instant records of life and street scenes there. And my portraits Faces Of Kathmandu are a series of portrait drawings of my colleagues at the Association of Craft Producers, where I worked as a ceramic teacher for five months during my stay in Nepal in 1998.
The round wall rugs from felt are colorful drawings with wool with outline my dream of a world where all beings live together peacefully, while the drawings Out Of The Blue are impulsive snapshots of the moment in which they were created. I created them as an experiment from which I made a best-of selection, which you can discover in my webshop.
