The lithophany "LUZID" is the continuation of long years of exploring this painting technique as a skin-covered body. It consists of thin Montblanc porcelain tablets with the embossing of snow-covered mountain slopes on their surfaces.
The snow-covered rocks, a metaphor for the color-covered picture body, was the topic of my painting during the last twenty years.
A mountain slope covered in snow is not only a concise, multi-faceted and varied image, and therefore attractive, but it is also a clear analogy for the subject of painting itself: just as a slope is covered with snow, a painting is an object covered with color. This color is not just some impression which stimulates the visual senses, it is also a material which creates a physical layer on the canvas. When I paint a field of snow, I'm depicting painting itself precisely in this sense of a skin-covered object. I carefully navigated the thin edge between figuration and abstraction by exploring the very act of painting and at the same time, the potential for portraying the motifs.
After an intensive study of painting with oil paint on handmade Japanese paper, together with digital production of printing plates (using stencils) on different material such as wood and synthetics, I came across ceramics and finally the lucid porcelain. The manufacturing of the porcelain tablets is related to the printing. Just as the Japanese paper (skin) behaves toward the printing block (body), so does the stencil (body) to the thin porcelain layer (skin).
The porcelain tablets with the various motifs can be considered as individual pieces and also as groups. I produced them in collaboration with the potter Peter Fink from Épendes, Switzerland. He employed my Corian printing plates that I used for the printing on handmade Japanese paper and fired the porcelain tablets in his 1400-degree hot oven. I am planning a larger number of porcelain tablets with diverse embossing of snow melting on rocky landscapes.