brigitte schmitz

born in 1948

education and work as designer for visual marketing,
commercial art and illustration

freelance artist since 1999, lives and works in schortens / friesland

member of the sezession nordwest e. v. (wilhelmshaven) and alliance of creative artists (niedersachsen)

....consequent engagement for the fascination of objectless painting, whereby the painting process assumes the foreground, turning an empty space into a tension-loaded, balanced picture. this target serves an understanding of painting, carrying a militant-ruminant character, leaving clear traces in the paintings.

first tentative steps, finding a direction, developing, overcoming resistance, doubt, failure, destruction, finding a solution, perhaps over-paint after all, start again ... this process of development is to create something expressionist and original: via shape, colour and texture to give the inner soul an appropriate expression. in this aspect, every picture tells a very personal story.

the harmony between contrasts can enable an intimate dialogue between the artist and the sensitive, open minded observer. this emphasises the special charm of this expressive world of paintings. they have found their echo in numerous exhibitions not only in northern germany but also in denmark, holland, and poland.

whilst her theoretical standards clearly follow the thoughts of wassily kandinsky, the practical side is influenced by the (already classic) informal art of the 50s, especially and unmistakably the style of emil schumacher

klaus-jürgen maiwald

born in 1948

accomplished studies of graphic art and the media, doctor of philosophy, magister artium
retired art teacher
member of the sezession nordwest, Wilhelmshaven
exhibitions in germany and france

... has a good eye for expressively coined, materially accentuated painting of motives he encounters on his journeys through france and italy. this is interrupted by experiments with portraits and still lives. his "memories of landscapes" painted in oil as well as acrylic paint on different materials and often combined in collages of materials reflect the perception of light, colours and forms in the same way as the sheer joy arising from the sensual mixture of the formative means and materials. his paintings are "objects d´art" which maintain their independence from nature; despite the appeal of the adventure of non-representational painting.
maiwald still holds on to the object, the motive that initiates the process with its visual appeal. he has assumed picasso’s opinion: "you always have to begin with something. later you can remove all the traces of reality because in the meantime the basic idea of the object has left a sign that cannot be obliterated". this balance of the form of nature and painting can be noticed in different degrees and forms of abstraction of the paintings.
thus, one can still see a clear tendency towards a dissolution of the shapes of objects in his loire landscape paintings from the nineties. the provence paintings, however, increasingly pursue the ideas of geometric abstraction and a focus on the effects of colours.
in maiwald’s current studio work, which has been inspired by the mediterranean coastal landscapes of the Île de porquerolles and sicily, he attempts to create within one painting a suspenseful synthesis of clear-cut shapes and dissolving ones.