NAU NUA: ECKART HAHN

Images of rupture

The German artist Eckart Hahn presents these days the exhibition Asphodeliengrund (Asphodel Meadows) in Berlin. The title comes from one of the three lands that formed the underworld according to Greek mythology and where the so-called mythical Asphodel flowers grew being the favourite food of dead. The spirits led to the Asphodel Meadows were neither bad nor good and they became there a kind of machines with no identity, experiencing a worst existence than the life before death. In that sense, the choice of this title by the artist to present a selection of his most recent works becomes deeply interesting especially due to the use of very vivid colours and the contrast between creatures and artificial elements. The first idea came to me was that the artist was trying to expose his vision of the terrible consequences of leaving behind our natural condition destroying the environment and finally ourselves. Having recently reduced his palette to the base colours of red, yellow, blue, black and white, that contrast becomes even more effective and anguished.

Why are your colours always so vivid?

The intense colours break up the pain-filled spaces in the pictures that are irritating at times, they have not only sensual components, but also an abstracting effect. It is like darkness under a cloak of light, it gives it this peculiar vibrancy.

Animals in artificial scenarios. What kind of inspiration you get from this particular contrast?

It is the confrontation between nature or creature and the artificial world. For me, it is the quest for finding an anchor in this estranged, ever-changing world which is difficult to cope with emotionally. But we have no choice, but to accept this world, to accept ourselves too and to confront the anguish which this entails.

Another contrast is the realism in the forms, close to photography, but a completely unreal atmosphere. What is realism for you?

In my paintings, the motives are always images of rupture, my intention is to transpose states of mind. They could also be understood as mental states of aggregation. Thus, this realism is abstract.

It’s very interesting the fact that life is always present in your paintings through the portrait of different animal species but the final feeling is to be in front of a still-life, nature morte. What’s the reason of that no live air in your work?

I have always been fascinated by the still-lifes of the Dutch masters. Here, you have morbid beauty, but also conservation of the actual state. For me, reduction is the important aspect.

I do not strive to create the image of a cloth that looks absolutely genuine or of a particularly agile animal, I do not strive for illusion, but for a mental image of a state that cannot be described with words. Or my work could be understood as painted video style. The frozen image bursts into movement, you don’t know why.

One of your most recent works is called Black Jack in which we can see a bloody hand with black cards. What do you think about the link between life and pain?

Pain is simply a part of life. Normally, we try to avoid pain in our life. But often, it’s suffering that makes you find the energy to try something new. Suffering is the counterpart of pleasure, they condition each other. To accept suffering without despairing is such a state about which I spoke earlier.

What’s the meaning of death for you?

Death is the last mystery left to us. Our world strives to analyse and penetrate everything down to the last corner, either scientifically or commercially, it should be grateful to death. It brings us down to the right scale, otherwise our ego would swell into the infinite. If man could overcome death, it would be hell.

Another of your works is called Serenity in which some swans are tied to a panther. We must renounce to fly for serenity?

That's very much my feeling. My whole life, I have been working on it. You have to be able to let things go, to trust even if you find it difficult. You must be able to accept failure too.

Could you tell me a dream?

That the terrible religious conflicts would stop.

Eckart Hahn | Asphodeliengrund. A selection here

A interview by Juan Carlos Romero

Eckart Hahn website www.eckarthahn.com