The painting ‚Überall‘ by the artist Bernhard Beyer from 2023 is painted on an HDF plate measuring 45×25″ with eggtempera. The simple frame with shadow joint was made of multiplex especially for the image. The materiality of the eggtempera emphasizes the flatness of the painting.
Bernhard Beyer’s painting goes back to the informal and gives the impression of abstraction at first glance, but can also be discovered as semi-abstract, since the representation is not completely realistic, but with a longer and more closer viewing, a reference to the real world is found or even suddenly sets in.
The painting style is determined by hand-sized color spots distributed on the image surface in different possibilities of color application. The artist applies various techniques such as opaque, stained, dry or wet, open, closed and with a free gesture. The colors of these spots stand on their own and represent their own material and optical quality and quantity. There is no fusion with each other, but the appearance changes due to the superposition of the spots, which can give the impression of a color gradient. At the edges, individual brush strokes seemingly involuntarily flash and a dynamic game begins.
The color spectrum ranges from deep black to other colors to the unpainted white image background without any application of eggtempera. The three basic colors red, blue and yellow dominate. Yellow shines pure, while red and blue occur in pastel-like tones such as rosé and tinted ultramarine up to light azure as well as in mixtures with purple or violet. In between are broken colors such as cream, earth and skin tones. The use of all these colors creates the shocking realization that the picture has gone through 40,000 years of human history and has overcome many challenges. It becomes clear that this way was not easy. This gives the work a natural, rough beauty that fascinates and captivates.
Color stains and overpaints create a strong color tension and a large imaginary space on the surface.
A characteristic feature of the artist is the curved neck-back line, which often appears at the top of the picture, including in this work, but smaller and like a quote from itself. Behind this is a connection between cave painting, such as in Lascaux, and its very own humor. This parietal art shapes the painting style and gives the picture a deep, archaic quality.
This is where the special feature of the picture begins: It reflects the soul of the viewer, as it has not been possible before.
The self-made color of eggtempera with pigments supports this effect, as the shades change in the course of daylight. The bright azure blue of the morning turns into a dark green until the evening, the bright yellow of the day fades into the evening, and so it goes through the day with all colors. This picture experience is of a special kind.
The motives suddenly reproduce. A collection of clearly protruding brush strokes can represent both the contour of a mountain in the distance and a house in the middle image plane and much more. What the eye discovers, be they figures, animals or plants, ultimately also reflects the psyche of the viewer. The image becomes a psychoanalysis for worldly viewers and art lovers who experience self-knowledge through looking here.
The image view becomes an intensive exercise.
The title that cannot be translated into English is ‚Überall‘, which initially means a place that can be anywhere, but also means that all places, this ‚Überall‘, are possible in the picture. In addition, it also includes the universe.
A fascinating thought, an exciting adventure.
In the title, which is deliberately chosen in the German language, there is also the variety of meanings. The title ‚Überall‘ points to the multidimensionality of the work and invites you to an adventure of self-knowledge and worldview.
A successful work.
