Ernst Steiner was born on June 1, 1935 in Winterthur in Switzerland. He started his artistic training at the age of 15. Until 1952 he looked for the basics in Bruno Bischofsberger's evening courses before turning to anatomical drawing and figurative drawing at the Zurich School of Applied Arts. In 1955 he decided to move to Vienna for further training, where he attended the University of Applied Arts. In 1956 he began a phase of travel to what was then the European center of the art scene, traveling to Italy and France, England and Scandinavia, among others. He returned to Vienna in 1958 with a wide range of experience, which from then on should accompany him on the path of his artistic development. In 1984 he became chairman of the artist group "Vereinigung Waldviertler Künstler". Ernst Steiner paints visions, his art does not follow an "ism", he is not committed to a direct role model.
TIME IN PICTURES
I start from my attitude towards life and the time situation. We all feel the distressing unrest these days. In contrast, eternity is only a game and a hope that has become stale. But we know about the short years of our earthly life. - In order to accommodate even more in this period, we try to accelerate all areas of life. We are constantly on the move for the new, for the unseen and unheard - a vita dance to the end of exhaustion.
My time images reflect this and are at the same time an attempt to counter the age of half-life, expiration dates, medium-term planning, fashion and nostalgia waves and to imagine the most diverse aspects of the time phenomenon in valid images. The measurable and counting time is contrasted with a subjectively experienced time. - The painter can banish and immortalize the fleeting, give the experiences duration and save them in the permanent, where the divided and the successive are banned into an at the same time, into a resting well, a nunc stans. Then things condense and something of the fullness of time becomes foreseeable. It jumps over the measurable and calculating quantity into a quality and intensity that is no longer comprehensible and shows the existential and essential character of the time.
Vienna, May 1999 Ernst Steiner
The living cross.
The cross is the oldest symbol of salvation of mankind. It is found more humanely on the earliest monuments
Art and religion. Over the course of decades, it was seen as a sign of the deity at the same time or alternately
and the cosmos, for sun, light and life, for fullness, wholeness and unity. It was and still is the sign
meaningful, lively order. However, not only the world, but also man is signed by the cross. In its
The cross of God, the cross of the world, the cross of the earth forms. This applies not only to his body, but also
also for his soul area. According to the teaching of the psychologist C.G. The basic mental functions of men are young
arranged in a cross shape. It can therefore be summarized that both the divine and the earthly, the spirit
how the sensual area is equally ordered and shaped by the cross. Salvation is therefore in the cross,
that means fullness, beauty, meaningfulness. - Disorder, outside or inside, therefore always leaves on violation of the cross - basic
close structure of life. Such destruction of the harmony of justice and love can be recognized, overcome
through the meditation of the full form of the cross: it is a way to restore wholeness and peace. Under
The etchings by Ernst Steiner, which so often and centrally feature the cross motif, should be understood from this point of view.
that will. He found this out of deep coercion, longing for healing and as a means to do so.
His crosses are mostly trees of life, cross-shaped entanglements of roots and branches from which buds and
Flowers burst out. Certainly the tree of life is an old religious motif of mankind. But the trees of life
Ernst Steiner, the epitome of pushing and growing to a full figure, are less by tradition than by inner must,
determined by the vision of the holy life that endures all destruction. The decay, the darkness, the persistence in the Ernst Steiner sets the unconscious with the design of his etchings, which are both subtle and powerful, and hope.
Fullness of the light, steadily growing cross.
Alfons Rosenberg
About my cycle:
"THE MYSTERY OF DESIGN"
I developed the entire cycle from a few basic grids. My image creations begin with the smallest geometric element, the point as a structure with the smallest dimension. From the starting point it goes point by point to the end point. It is a dream-like journey through endless spaces. In this way, the smallest building blocks create picture creations that were not previously. We call this creative elemental force imagination, but we do not know the rules and principles according to which it links and links the building blocks and visual elements. We also do not know what drives and constantly creates new things. This is what we call this stimulating, inspiring and inspiring action because we lack information about what determines our actions and our choices. We call the accidental blind because we are blind to its meaning.
Each point can mean beginning, repetition, middle or end. The grid is part of the grammar of the world text. It can be read from top to bottom, from bottom to top, from left to right or in the crab from right to left, diagonally or, to put it simply, in mirror image. The world text uses a visual language whose letters are dots and dashes, triangles, squares, circles or other figures. Traditionally, the one with the point, the two with the line, the three with the surface and the four with the physical are fixed.
With the two, creation begins and dynamism and dialogue arise. On the two we experience the connecting and the separating, which can also be found in word formations such as thread, doubt, strife, conflict, etc. has put down. The atomic structure also begins with the two, with the twin pair electron / positron. In this way, polarity and symmetry occur together in nature.
With the two, creation begins and dynamism and dialogue arise. On the two we experience the connecting and the separating, which can also be found in word formations such as thread, doubt, strife, conflict, etc. has put down. The atomic structure also begins with the two, with the twin pair electron / positron. In this way, polarity and symmetry occur together in nature.
Ultimately, all regularities of shape and structure are reflected in the symmetries of the atomic patterns. When an electron is added or removed, it makes a huge difference in the atomic world. Because an electron more or less can lead to a complete change of qualities. The analogies between symmetry elements and archetypes are obviously extraordinarily strong. This is where the structure of reality lies. The number is the element that seems to unite the areas of matter and psyche. The natural numbers have personality and an individual character and are in no way just abstract sets and orders. The numbers have both an order and a sense aspect. The number is the primary manifestation of the mind as well as the indispensable property of matter.
Through repetitions, I put the individual in a continuum. The chain creates the feeling of duration and eternity. The passing of time stands in the way of repetition, the duration of presence causes. Repetition in space and time has always been an important, structure-building and powerful element. All repetitive structures can also be interpreted as mirror effects. The strictest legalism, dense repetition trigger an overwhelming viewer. In its repetitive structure, the ornament represents sacred power and sacred seriousness.
The dot grid structures space and time and at the same time creates unity in the unmistakable variety of possibilities. - The symbols, which are based on the spiritual as well as the soul and the material, develop from the structures of the basic grid. There is an interaction between the systems and the symbol acts as a bridge. In the point itself, the matter (the mother substance) is reduced to a minimum and evaporated. The spaces in between, the white of the sheet, is the medium of the spirit and it is this that creates meaning, that orders, evaluates, weights, interprets and creates meaning structures from numbers. It is not possible to determine what is more fundamental in this binary system, the statics or the dynamics of the development process. The white of the paper, the emptiness, at the same time encompasses the abundance, an unshaped chaotic and distant place where there are no more details and statements. You stand at the border and in an area where being can no longer be rationally grasped and formulated. The resulting works not only embody mathematical ideas, but are also aesthetic phenomena and symbols that point to a spiritual background. The grid and the mathematical structures are not intended to disenchant the world, but to make the miracles of the formation visible and understandable in everyday life.
The grid becomes a projection surface for pictures and figures that I carry within me. It is by no means possible not to project and not to communicate.
By meditating on the grid, one becomes part of the omnipotence of cosmic orders and thus reaches the creative intermediate zones, zones between waking and sleeping. In these areas you are very close to the other world, which urges revelation.
The grid is the game board, the surface of the world and the venue for decisions. But how can I find a way out of the inexplicably many possibilities that makes sense so that my actions do not go astray and lead to despair and lack of stability?
Every path we take is a world novelty, it is unique. No human being can realize all possibilities of being human. - To want to live all possibilities would be an addictive attitude.
Each grid point takes up a point of space at any given moment. The connection of these fixed and persistent points creates a world line, a line that creates the world. This arises through the overcoming of dead spots.
But now there are countless possibilities of shaping and crystallizing, which make you shudder because of the variety. You are not just happy, intoxicated and addicted to the flood of endless possibilities. They can also cause fear, confusion, and confusion. Excessive stimulus overload can cause paralysis and irritation.
This cycle was about trying to look together and bringing together the individual disciplines such as physics, mathematics, philosophy, art, theology, psychology and mysticism, which had been diverging for centuries, in order to focus on the Unus Mundus motif to point out the primal oneness of all being.
Through magic, poetry and the clarity of art, the view of the outside and inside world can be sensually experienced and one escapes suffocating access through a world view that is too one-sided.
Vienna, June 3, 2003
Ernst Steine
ERNST STEINER – EXHIBITION - Otto Rapp
thanks to Joey Lin of Anonymous Works.
http://www.anonymousworksinc.com
