Pictorial Artist Kurt
Every spring and autumn I go up north with my rucksack, binocular
and my drawing/painting tools. Up here I find the magnificent, tough
and untouched nature that talk to all my senses. My travels have
taken me to the Hebrides, the Orkneys, Iceland, Greenland and the
Lofote and especially the Faroe Islands, where I have been about 15
The huge bird cliffs, the screams of ten thousands of
sea-birds, the roar down under from the sea, the fog that is
slowly creeping up through a valley situated very lonely,
the screams of the oyster catchers, which echo between the
mountains – the wind, the cold, the loneliness, the mystery
and the changing light.
I take all these
impressions with me in my mind, in my drawings and in my paintings.
In the middle of this violent and beautiful nature I am sitting with
my drawing block and my colours. I have created many of my paintings
dressed in polar clothes, sheltered by a rock, with stiff fingers
and a vacuum jug next to me.
When I work I can leave
out or intensify what I see. In this way I am able to include the
cold, the wind, the light, the roar of the waves, the screams of the
birds and anything else. The photo can’t do that. The paintings that
are created here are completely attached to time and place. The line
is fast and spontaneous. These paintings have been finished on the
spot, and I don’t touch them when I have come back home.
Most of my paintings
have been created in this way. Only some of these paintings can
stand for a closer evaluation at home and will be exhibited. But I
also make a lot of sketches in black/white, which shall be the
background of the paintings I shall later paint in my studio.
is how I paint
In my gallery which you can see on the next pages you
will see examples of my different paintings. The small
ones are all painted on the spot out there in nature.
The big ones are all starting from the sketches that I
have made during my trips. On the sketches I normally
write a little about the sounds, the screams of the
birds, the sound of the sea, the wind and all that
influence my senses. I use some special paper called
Ingrés paper. It is a strong, fast paper with very fine
grooves, that give some structure and character to the
surface of the painting, and besides it has a good
ability of fastening my colours.
I always use some
colours called Caran D’ache oilpastel. These colours are
the very best and completely fast. Having finished a
painting I fix it with a special fixative and after that
I give it a special varnish. The surface is now as hard
as an oil painting and can stand a touch. Then the
painting is mounted by a special vacuum method on a
cardboard free from acid. Not until now the painting is
ready to be framed. Normally I use frames in blond wood.
These frames are called “floating frames”, because there
is some space between the painting and the frame.
Welcome to my page.