Material and Technique
My artistic mode of expression is that of
fantastic realism. The composition of the pictures I paint expresses
serenity and happiness. Personal memories, elements of music, lyric
poetry and mythology flow through the pictures. “It is wishes and
dreams that I paint, even if the elements are real.”
The material the artist uses is an unusual
feature. Hannelore Göbel paints on handmade paper from Nepal and the
kingdom of Bhutan. It is produced from the Daphne bush which grows in
the Himalaya area at a height of approx. 3000 m. Daphne is comparable
with mezereon. The manufacturers take care that the plant grows in
natural woodlands by planting out seedlings. At present it can be
described as the cleanest paper in the world, free of ecological damages.
The production of the paper is brought about through spring water, it is
therefore, according to the information of the manufacturer, >acid
free<. After dipping the paper is dried on stones in nature and thus
shows an irregular structure. The name “sacred paper” has come up
because it is primarily used by Buddhist monks for the documentation of
their Holy Scriptures.
Daphne paper keeps its quality for centuries
and is therefore especially suitable for valuable drawings; and by her
special treatment the artist uses it for her pictures in acryl. She
draws with polychromos and varnishes up to 30 layers and in this way
achieves depth and liveliness in her works. This old masterly technique
is the basis for the realisation of the composition of her pictures.
Cubistic elements also become manifest in the composition of the figures.
Mrs Göbel is a great admirer of “Picasso” and “Dali”. She also
paints pictures on genuine > papyrus<, an Egyptian product which
is produced still today in the same manual technique as at the time of
its invention (about 3000 BC). And she paints on > cardboard<. By
a special process the pictures get a special effect.
The watercolour pictures are painted on very
high-grade hand-made paper from France. They are produced according to a
traditional method on the vat machine. This paper is completely made
from rags; it has a four-sided deckle edge and a watermark.
The plastic work deals with man. The artist
strives for a balance between formal clarity and playful uncertainty.
The sculptures are made of lightweight concrete and coloured with acryl.