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Christian Lucian Hamsea

Christian Lucian Hamsea criticism texts, press texts

 

.. The modern time has formed itself under the motto "all you need is learning to see", just as postulated by the German painter Hans von Marées and as the present day hermeneutics requires.

Today's exhibition corresponds to all these challenges: it presents artistic experiments - painting - graphics - sculpture -, that originated from an odd, stubborn and impressive artistic activity and produces a coherent picture of Christian Lucian Hamsea.

His artistic biography also is odd so to speak: "born to see", he always wanted and he always drew and painted, probably because the picture was his personal perception of the outer world. The artist is a hiker, born in the "Crown of the Carpatian Alps", Kronstadt, in a dreamily beautiful landscape, where he enjoyed also his first artistic education. Much later he settled down in Erlangen , Nuremberg , where he accomplished his study at the local academy of arts. Nevertheless, he remains tied with the tradition, not in the sense of motives and national-folkloristic topics but with his preference for the colour and for the landscape painting, as well as with his embossed spirit for the synthesis: one can recognize this spirit in the whole history of art and it several times led to the abstracting and sometimes to the abstraction.

Christian Hamsea thinks and works in series or cycles: in the postmodern sense, he processes the known Credo of the modern time, that of the Nonfinito, to which Imperfect aid homage, the masterpiece through the multiplicity of the Esquisses, Ebauches.

The Montagne Sainte Victoire series, the utopia series or "the mummies of Bruckner" are a symbol of his artistic way, which I would like to call deepening of the nature: the landscape, the human figure or the abstract compositions represent the external and the internal nature, thanks to the curious, searching spot of the artist. Because, as the French philosopher Jacques Maritain said, the unveiling of the Inner self entirely replaced the external beauty in the modern art. Hamsea "turns out" itself in his works and invites us to look at the world with his impressions and fragments...

Dr. Ruxandra Demetrescu to the opening of the exhibition in the Romanian Culture Institute "Titu Maiorescu" (Berlin)


... Basically the fascinating about Hamsea is his unbelievable versatility. Oblong beautiful acts in oil, Middle ages - classically modern Mediterranean from Italy and South France with ships in bang cobalt blue, with respect to landscapes, all this mixes to view, suggestions with very personal touch.

A balance, that is amazingly load-bearing and stable, bandages west and east, orthodox, Levantinian, Byzantine and Catholic western, concrete and blur, abstraction and reality perfectly united. The graphic class reveals itself most clearly in the acts. Sometimes, Cezanne blinks through, another time Tapies, always however, Hamsea stands in the foreground. His walks on the border line lead to the synthesis, like his walk of life, that led him westwards and allowed him fulfilling the dream of trips to Italy and France , and of wine at the Montmartre .

Special attention needs Hamseas excite bronze sculptures of course: in strengthy vectors resolved natures, that emphasize the human verticality, ingenious, exciting bow architectures. Only on the first gaze, one thinks of Giacometti here, because of the enormous length, mediated already into another world full of particular crosses and static elements...

Claudia Schuller, side 3, No. 112, Fürther news, 16.05.2003, culture, exhibition gallery Artistikum "icons with hard disk"


. Hamseas Oeuvre is in the best sense of the word the modern. He always sounds out the tension and relationship between abstraction and concreteness in his pictures, which was very important for the art of the 20th century. His powerfully, sometimes almost pastly stroke gives depth and wideness to his pictures in cooperation with an extremely varied palette of colour and a very confident, assertive ductus. Landscapes, sometimes not only in classically constructed perspectives but from abstract contours, are built from conscious omissions, from a vacuum, only filled through flat lines or from the juncture of open structure and powerfully sedate color. Surprises occur: Suddenly a still life develops from the depth of the space, the abstract form condenses to the representation of one bottle or other objects on the table. Hamseas work has also a figural dimension: Again and again, especially in his graphics, filigrees shape, in their silhouette in the end only indicated, easily outlined shapes of the picture form the composition - and reminds at Giacomettis's fine bronzes in their disolved fragility and their vertically overstretched proportions. Then on the other hand, there are slim, sensual, largely realistically represented women shapes, that stand in the center of whole series of work. For the observer's identification of the artwork, all elements are therefore given: Figure and object in the area.

But it is not so simple. Hamseas base goes far beyond the an academic opinion: Because at the same time, Hamsea rips just indicated structures again open, he lets the form and their specific limitedness implode. With concentrated, almost already thrifty means, like easily thrown down accentuations, he achieves an opulent, very much rich effect, occasionally like some anciently masterpieces. The synthesis is the taks of the observer by understanding the dynamic development of the picture in his perception and continues - and the seemingly disparate elements ultimately in his view links. Landscape can therefore develop with Hamsea on also very much much more indirect, subtler manner, not only through the wide gaze to the horizon, that opens itself in many of his pictures. And so a true color intoxication then turns into it, from a compositional fireworks of contour and color suddenly a concretely feeld, seemingly three-dimensional area. Hamseas worlds never effect it at will, in the opposite: Every effect is well-calculated; the artist defined his/its goal from the beginning, however, the way is not static or even slavish fixed there but ultimately emerges in the course of the work process. The starting point is the dynamic impulse, the method his permanent development.

That Hamsea dares even the total reversal of the conventional color perspective from time to time and completely casually our conceptions manifested in the picture of near on that occasion and long-distance on the head puts, is marking: So, he dips the horizon into cool blue green, that actually suggests distance and into warm full reds the foreground. That the observer nevertheless constructs three-dimensionalitys, Hamsea shows big craft-like skill. The technology, that uses Hamsea preferentially with it and that sees in a selection of key works we here today, is not regarded for nothing as technology of the masters: Oil on canvas. Her mastery allows him quite personal procedure: Hamseas work process has something evolutionary, the work develops permanently, and certainly also the artist discovers things and development lines, that were not consciously for him beforehand so, on that occasion - and realizes they he only in the inventive moment and formulates.

A spectacular, almost already legendary action of Joseph Beuys was being explained the art to a dead hare. With the dead animal on the arm walked the century genius the exhibition - and mocked with always wanting to have the interpretation of the world in double implementation over the need of profession and public: in picture and word. It is our big luck, that Christian Hamseas art is eloquent in the best sense of the word, refused itself the observer never and speaks a clear language. Leave, admired ladies and gentlemen, itself at this worthwhile dialogue with Christian Hamsea one…

Christoph Hüsing, exhbition opening, Münsterlanfestival, Nov 2005,


The ambiguity of the surface
Works of Christian Lucian Hamsea in the small gallery of the palace Stutterheim :
In front of his pictures, one wonders spontaneously whether they abstract representational, or whether landscape and figure were rather not built from the associations of the painting process. The Erlanger painter and sculptor Christian Hamsea, whom the art club displays in the small gallery of the palace Stutterheim, the question leaves consciously open: He numbers his canvases after number and formation year. The problem reminds only shallowly of the known question of the priority of chicken and egg. It deals to rob not itself/themselves of it, cause and effect on the row namely but about interactions between an objective reality and the ideas, that we have from her. The perception theory has had indicating the question decided long ago that we can always portray only our idea. And discovered the nameless landscapes hidden in his abstract compositions again logically Nicola de Staël beginning of the 50er years of the last century. The spontaneous painting of the informal things with his ambiguity of the signs opens the room for associations also with Hamsea, above all however with the discovery that originates to be occupied by the idea in the change of the color perspective picture areas, that cry formally for it. Christian Hamsea doesn't let arise the lowest doubt about the priority of the painting about his pictures. Almost provocatively, he/it attaches importance the tradition of the oil painting upright to canvas, whose pointing virtuosity absolutely shows the claim on eternity. Accordingly even - and power-consciously the pictures therefore come: They leave the supposition, there could be another other outside their reality, not at all first arises. This claim is covered by the superior handling of the color perspective, that just as rationally as steered emotionally escalates, appears. With contrastingly shining color surfaces, the pictures push outside, erects a spatial structure, that leads like a springboard into the picture depth, that seems to open with numerous gradations in changing brightness into the infinite, already in the foreground, however. The small-format bronze figures of the sculptor are amazingly filigree opposite this picturesque monumentality. They are not on it from, to condense the plastic to the pathos of the appearance, but tells rather genre-like from the history of their formation. The painter always remains present in it: Hamsea is more in the ambiguity of the surface, at her/its/their changes in light and shadows, interested as at that plastic shape, that represents itself as liberation of the form through removing the superfluous according to Ewald Mataré.

KURT JAUSLIN
30.11.2005 ERLANGER NACHRICHTEN


 

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