About Hans-Gerhard Meyer
There are no upcoming events
The interpretation of several glances at a situation reflects a longer period:
Duties determine our everyday life. It takes time to deal with these. There is no time to lose. This leads to life speeding up. It is difficult to step away from this.
Still, some situations make us pause. Situations that surprise us, that are sudden or unexpected or that might be created, like pouring a cup of tea. These moments last longer than just a moment. Impressions of experiences are often composed of several views. This takes time. The memory of these moments is the subject of my painting.
Sometimes, for example, we might look at a certain detail. More glances during these moments might lead to memories of one aspect or another. These recollected glances reflect a longer period than every individual glance. In my paintings the simultaneous depiction of several recollected glances of one moment reflect the interpretation of the memory of a longer period. In this way I condense experience. The memory and the associated choice and interpretation of several glances lead to occultation, overlapping and stringing together of these and in this way the formerly strict sequence becomes varied.
During a period in which glances and the associated impressions are joined, the respective situation changes constantly. People in front of us move, we are in motion.
Interpreting the observation from different positions includes temporal changes: on the one hand in our own position of observation which has changed over course of time; on the other hand in the temporal change of the situation which occurs in front of our own eyes; and, thirdly in the differing clarity of our memory of each observation. All these aspects integrate the observer of the painting into the experience of such situations and they do not just leave him in front of the image.
As in most paintings the other temporal aspect lies in the way the brush leaves traces of paint over the canvas.
These moments representing collages of glances show perception areas and areas of memories as well as their boundaries, all merging, and the gaps in between and around. All points put an emphasis on each memory of single glances and they are design elements prompted by the moments which gave shape to the image.
Glances Turn into Moments
The area of our sharpest vision covers only a few degrees and is anatomically assigned to the fovea at the back of our eye. For example if we focus our eyes on the centre of a text page, keeping our eyes still and try to decipher the surrounding part of the text, we then experience the narrow limits of sharp vision. In our daily life we don’t experience this.
The situation is the sum of gathered glances, our experience, expectations, assessments, interpretations and involuntary eye movements. Gaps do not seem to exist.
Glances which stay in our memory for longer will be merged with the painting.
Keeping their independence they will simultaneously chime whereas the pictures on their own could not achieve this. They influence and emphasize each other. The artistic interpretation is also weighting it. The different glances merge to an overall impression – the moment. All glances together narrate more impressively and more vividly than the representation of one glance on its own.
In its pictorial translation the overall chime of all moments leads to a personal installation of perception. I emphasise this in some paintings more or less clearly, for example by my own knees shown in the paintings. ‘Mittagessen mit Volker’ (Lunch with Volker), ‘Strandkorb’ (Wicker Beach Chair) or by my own feet in the paintings ‘10er’ or ‘3er’.
Thoughts and reflections on further points are slipped into the images like on the design of the borders of each moment, on the number of moments in each painting, on the choice of image format and much more.
The image design using multiple canvases provides even more extensive options of presentation and interpretation.