The palette is profound and intentionally restrained: A rich spectrum of greys—from hazy light grey to saturated slate—forms the monochrome, contemplative base. These grey clouds are punctuated by accents in dark, earthy tones: deep black and a warm, burnt brown reminiscent of oxidized wood or rusty metal. Vertical strokes in these dark tones anchor the composition, creating a rhythmic depth and alluding to urban silhouettes or weathered structures.

The crucial, exciting accent lies in the use of copper leaf. It breaks through the darkness in two fine, nearly horizontal lines, suggesting a subtle horizon. This shimmering metal is not flawless; it is embedded, reflecting the light sometimes coolly, sometimes warmly, creating a moment of quiet, almost fleeting brilliance—a „glimmer“ of progress or hope.

The surface itself is key to the narrative. Using texture pastes and deliberate scoring techniques, I have created a skin that evokes an antique, rare collector’s item that has been touched and buried over generations. Fine, crazed cracks and delicate lines cover the entire area like a map of time. This patina lends the modern, abstract work a profound historicity and the dignity of the ephemeral. It is a window into a long history, captured in a contemporary moment.

Der Beitrag Grounded Glimmer erschien zuerst auf NG-Art.

My large-scale, mixed-media work on canvas is not a mere illustration of Barns Courtney’s „Glitter and Gold“; rather, it serves as a direct synesthetic transmission of the physical and emotional energy experienced while listening. The painting is a visual echo of the track: an explosive conflict between the gravitational weight of being and the untamed urge toward self-elevation.

The palette is deliberately constrained to a dramatic minimum: Black and Gold with subtle shimmering accents. The Black—applied in thick, gestural layers of acrylic—forms the foundation, symbolizing the ungrounded, the primal, the earthbound. It is the shadow, the inherent gravity, the foundational matter of existence that attempts to hold us down.

Yet, this profound darkness is ruptured by an insurgent energy. True to the song’s mantra, „I am flesh and I am bone, rise up, ting ting, like glitter and gold, I’ve got fire in my soul,“ the surface is violently broken open through the application of gold leaf and black metal foil. The gold leaf is not smoothly applied; it aggressively fragments, tearing through the surrounding blackness in fine, intricate structures. These golden veins are not decorative; they are visual shockwaves—representing the „fire in the soul,“ the rebellious, indestructible inner glow that fights to free itself from the dark.

The black metal foil introduces another layer of complexity. It reflects light differently depending on the viewer’s angle, generating a dynamic shimmer and lending the surface a tactile density. This material quality signifies the human “flesh and bone”—a material yet resilient casing that contains both inner turmoil and formidable strength.

The work compels the viewer to embrace duality: one must acknowledge the darkness and weight of the foundation to fully appreciate the beauty and power of the gold-laced resurgence. It is an act of artistic alchemy, where the simple matter (Black) is transformed into something resilient and radiant by the will and energy of the spirit (Gold). The painting, therefore, stands as an affirmation: true strength is manifested not in the absence of darkness, but in the unwavering ability to illuminate within it.

Listen to the song on youtube here.

Mixed Media on Canvas | Gold Leaf elements in gold and black, Structure Paste, Gold Glitter Particles | 100x100cm

PRICE: 6.900 €

Der Beitrag Glitter and Gold erschien zuerst auf NG-Art.

In my large-scale work, Waldweinen, I delve into the profound and often overlooked lament of our planet’s ancient sentinels. This isn’t merely a painting; it’s an immersive experience, a visceral confrontation with the consequence of exploitation.

The canvas is dominated by an overwhelming, absolute black, rendered in deep acrylics. This isn’t an absence of colour, but rather a deliberate void, a crushing weight that swallows light and hope, mirroring the darkness encroaching upon our forests. It serves as the psychological backdrop, a silent scream that resonates through the entire piece.

To the right and left, I have incorporated genuine tree bark, meticulously layered to create a tactile, almost sculptural presence. These aren’t just fragments; they are scarred testimonies, rising from the inky depths. The surface texture is extraordinary – at once reminiscent of the gnarled, ancient skin of old-growth trees, yet also evoking the formidable, scaled hide of some mythical beast, perhaps a dragon. This duality hints at both the natural majesty and the monstrous exploitation faced by these landscapes.

Emerging from and snaking along these raw bark formations, both on the right and left, are subtle trails of red LED luminous cable. This isn’t merely an artificial glow; it’s a stark, pulsating vein, a visible manifestation of pain, a wound that refuses to heal. The red light pulsates with an almost organic rhythm, suggesting a slow, steady hemorrhage, the lifeblood seeping from these living organisms.

Perhaps most poignantly, from individual fragments of the tree bark, a gold-like substance appears to ooze and flow. This is not precious metal in its traditional sense, but something far more potent: a viscous, almost organic secretion, a golden sap that feels both vital and tragically lost. It symbolizes the irreplaceable value, the intrinsic richness being extracted and squandered, hinting at the precious essence being bled from the very heart of the forest.

The mood of Waldweinen is, without apology, intensely sombre. It’s an elegy, a direct and uncompromising meditation on the relentless exploitation of our forests. My intention is to compel the viewer to confront the brutal reality of environmental degradation, to hear the silent weeping of the trees, and to feel the weight of what we are collectively losing. This piece demands reflection, urging a shift from passive observation to urgent awareness.

Mixed Media Art | Acryl | Wood | Electric LED Bands | on Canvas |  100×150 cm.

PRICE: 9.900,- Euro

Der Beitrag Waldweinen erschien zuerst auf NG-Art.

Feel the daring red tension while looking at this piece of artwork. Almost like seeing and feeling the songs mood and the movie’s emotion of Eyes Wide Shut.

Mixed Media | Acryl | Red Pigment | Red/Gold Leaf Elements | on Canvas. 100x150cm.

PRICE: 8.900,-

Der Beitrag Baby Did a Bad Bad Thing erschien zuerst auf NG-Art.

The dominant palette is one of nuanced, soft contemplation: A vast field of vertical strokes in ethereal Light Grey shades creates a sense of continuous movement—a downpour, a dissolving mist, or perhaps the rush of a passing thought. These strokes are intentionally rendered with a raw, almost frantic energy, suggesting a dynamic, atmospheric event.

Breaking the serenity of the grey is the introduction of warm, earthy Brown tones and deep Black accents. These darker masses cluster powerfully along a central axis, creating an abstracted, turbulent horizon line that anchors the composition. They read as a city skyline dissolving in the rain, or perhaps a rough, subterranean layer revealed beneath the clouds.

The critical element is the central, explosive band of Copper Leaf. Applied with decisive, horizontal gestures, the copper tears across the entire width of the canvas. It is not merely a stripe; it is a raw burst of brilliance—an oxidized sunrise, a fissure in the earth, or the moment the sun breaks through a dense cloudbank. The copper material catches the light dramatically, injecting profound warmth and a metallic, antique gravity into the cool, swift atmosphere of the greys.

Copper Cloud is about finding beauty in the volatile and transient. It speaks to the idea of a precious, vital core (Copper) persisting beautifully amidst the chaos and neutrality of the daily flow (Grey).

Mixed Media on Canvas – 100x100cm.

Copper and gray abstract art.

PRICE: 5.500,-

Der Beitrag Copper Cloud II erschien zuerst auf NG-Art.

Mixed Media on Canvas. 100x100cm.

PRICE: 7.500,-

Der Beitrag I don’t want to go to Mars erschien zuerst auf NG-Art.

The canvas is starkly divided, establishing a powerful visual dichotomy. The overwhelming majority, a full two-thirds of the composition, is consumed by an authoritative, opaque Black. This expanse represents the societal structure itself—a monolithic, often isolating mass of expectation, convention, and collective anonymity. It is the vast, formidable unknown one must choose to enter.

Juxtaposed against this darkness is a searing, intense Red, dominating the final third of the canvas. This is not a passive colour; it is the burning friction of the inner self, the volatile energy of individual desire, or perhaps the emotional cost of conforming. The transition is not neat: the Red does not merely abut the Black; it appears to flow and bleed into the darker mass, symbolizing the potential for personal passion and identity to be absorbed or diluted by the larger social body.

The narrative climax is centered in the Black expanse. Two bold, deliberately unequal golden vertical lines descend from the top edge within the left third. These are the Gates. They are not welcoming; they are stark and unyielding. The Gold signifies the promise, the reward, the perceived success or security that lies within the societal walls—but their inherent unequal nature speaks to the flawed, skewed opportunity that the system offers.

The work crystallizes the intrinsic human query: Shall I enter, or turn around? The Gates are open, but the price of entry—the dilution of the individual Red into the communal Black—is palpable. The painting forces the viewer to stand in that liminal space, to feel the magnetic pull of conformity versus the vital, isolated intensity of self.

Mixed media on canvas. 100cm x 100cm. Red and black abstract artwork with golden highlights.

Price: 7.200,- Euro.

Der Beitrag At The Gates of Society erschien zuerst auf NG-Art.

It’ll all click when the mortgage clears
All our fears will disappear
Now you go to bed
I’m staying here
I’ve got another level that I want to clear

Der Beitrag Sin City erschien zuerst auf NG-Art.

Inspired by the great song „Graf Zahl“ from Paul Kalkbrenner.

Mixed Media on Canvas – 150x100cm.

Price: 9.900,- Euro.

Der Beitrag Gral Zahf IV erschien zuerst auf NG-Art.

Eins (acht), eins (acht), fünf, sieben
Fünf, sieben, vier, vier, vier, fünf
Vier, fünf, drei (drei, drei)
Drei (drei, drei), acht, vier
Null, drei, vier, drei
Eins (zwei), sechs (sechs), neun (sechs), drei
Neun, vier, neun, sechs
Neun, vier, sieben, acht
Neun, acht, fünf, null
Vier, drei, sieben, fünf
Null, neun, null, neun
Eins, drei, sieben, fünf
Null, neun, null, neun
Eins, drei, acht, sieben
Acht, neun, null, neun
Null

Paul Kalkbrenner; Graf Zahl

This canvas is part III of the Series „Grahl Zahf“. Mixed Media on Canvas (100x100cm).

Price: 6.200,- Euro.

Der Beitrag Gral Zahf III erschien zuerst auf NG-Art.