257. Luna (1)
257. Luna (1), 2026, Öl auf Leinwand, 40 × 30cm, (Thomas Ansted)
I am happy to finish working on this painting. I began it in December while in Rome with a model set up by Yuval in the shared Inmiranda studio, and worked on it in dribs and drabs ever since—even adding a bowl later and turning the pomegranate into something else—but while trying to retain some of the first marks made. During the time since those days painting Luna in the shared studio, besides a new war breaking out, the other news is that I took a long holiday. There is a lot to say about it all, sure, but ultimately, I've realized one thing. The imagination thrives when it's surrounded by good company.
I wrestled with the idea of autonomy in art for many years. I am enjoying leaning more toward the timeless than the topical but I like the work to come from my life (so for example my use of copies is very restricted). Working on this painting presented this exact question. To what extent is (this) painting removed from the broader conditions of life? I do not really think I control the outcome. However, I am aware of what I do not want to produce (and I destroyed hundreds of my paintings along this road, although now I keep almost everything). As long as it does not look like an illustration from a 1970s ‘how to paint’ book I will be satisfied. That is an affect-less mode. In general my work is in the vein of a diary, and largely coming from intuition. It is also not something to lock up in a particular neurotic repetitive action. To describe it in positive terms, it should grow but organically, incrementally (and not jump about too unpredictably).
One of the nice things about being a painter is visiting other artists’ studios. Unlike museums or commercial galleries, studios are personal and lively spaces. I spent six weeks in Australia with the family and while there it was great to visit the studios of some artist friends. I was fortunate enough to even spend an evening making art alongside Jon Tarry in his studio, experimenting with new materials and approaches. It was just what I needed—and a refreshing change from the constant drama in the news.
After a fantastic trip albeit one punctuated by the reality check of daily news, we made our way back to Germany via Tokyo and Brussels. My holiday was the longest stretch away from my studio in years, and when I came back to Geseke, the world had changed quite a bit. Actually, it feels like history has been shifting around dramatically for a few years now. Sometimes, it’s as if we’re all living a blockbuster action movie. But I think every artist who spends their days immersed in studio work also feels this jolt when catching up on the news after a day’s painting.
I’ve been thinking about musicians and filmmakers trying to get mid-sized projects off the ground. They must wonder how their audience can absorb nuance when the world feels so loud and chaotic. It’s easy to see why escapism is such a tempting genre these days. Maybe that’s part of why I enjoy Knausgaard’s writing so much. It’s not full-blown escapism but rather a kind of deep immersion in the fairly mundane parts of life. However, his Morningstar series, which I am currently reading is actually quite dramatic. The particular book of the series that I am currently listening to is The School of Night. It has an artist as the main character—he’s not a great person but is quite successful. Normally, the story might not seem believable, but Knausgaard captures it perfectly. The main character is actually a deeply flawed narcissist and there’s a clear reference to Dostoyevsky’s Raskolnikov. There are definitely artists like that out there. Indeed, sometimes, after reading about the art world, I wish I’d taken up carpentry instead! For now, the bucolic green fields of Geseke are however a good compromise.
Taking a holiday was a great way to recharge, and even though the news can be overwhelming, working on a painting—making a series of small decisions day after day, and visiting friends’ studios—feels like a vital return to simple pleasures, wars notwithstanding.
