/* 2012 *//* The Luncheon
on the Grass */
stephen winter;
{COMPUTED_ paradise} reality is a distortion field
{COMPUTED_ paradise} reality is a distortion field
/* 2012 *//* The Luncheon
on the Grass */
<p> The hash sign stands for being in the digital realm. It's still a statement for an artist to work digitally. I sign my pictures with a # sign and it's a COMPUTED_ paradise as well as an (unsettling) distortion field to bring aspects of reality into the pictures.
PARADISAICAL: to celebrate the elements of visual digital abstraction: shape – color, 2D – 3D etc.
UNSETTLING: reality is always a distortion field determined by interests – not only when watched through the artist's or digital magnifying glass.
<p> To associate contemporary european painting with digital painting is up to now not natural. There are still drawbacks and unsolved issues in digital painting.
I estimate this: to develop CG drawing lines towards a free work flow and to develop trivial digital imitation of painting toward powerful CG brush strokes – that remains for years unsolved in contemporary art. [1]
[My statement 2008 on digital art.]
READ MORE ABOUT THIS ONLINE ART GALLERY 
/* 2011 *//* Futurist Spin (Berlin 1925) */
/* 2011 *//* The Luncheon on the Grass.
Draft */
/* 2011 *//* The Luncheon on the Grass.
Sketch */
/* 2011 *//* Two Sculptures in the Gallery */
/* 2008 *//* Selfdetermination */
/* 2011 *//* Boy Child with Brushstroke
Draft */
/* 2011 *//* Impression {C.M. + #\@},
Two Trees at Sunrise */
<h> ABOUT THE ART GALLERY
<p> This site is my web page to offer my latest graphical ideas and digital paintings and it's a place to post notes about art and digital techniques.
Galleries selling my works are named 
here.
<p> In my graphical work I try to have both at the same time: a free flow of strokes and a clear calculated sculptural shape. My work starts like the work of an architect: structuring space by placing solids and by spanning opposites. Solutions are: achieving clarity, reducing shapes etc.
(it's like architecture).
<p> I found it not very interesting how digital tools/ graphical applications imitate water colours, charcoal etc. I was searching for strokes that do not hide their digital origin – that have still structure but are obviously artificial.
Strokes and colour fields formed from disks were the first and basic solution.
<p> Reality is always a distortion field. Truth is only a truth as long as it misses most other manifestations of the universe or a society. Filtering, hiding and interests are the more important properties associated with "facts".
<p> I like to be minimalist and clear but trash and the ugly are not precluded in the final result. To disturb balance is sometimes the task (if DADA is not mistaken).
<p> I'm not sure art can be taught. Instructive anyway is to admire artists of the past: when I studied at the Weimar Bauhaus University there were the famous murals by Oskar Schlemmer on the walls.
<p> All designed forms have their associations to already existing forms. In the 21st century all art is a quote of a quote. I try to make this as obvious as possible (like Pop Art did). What looks from a distance like a brushstroke, a drypoint scratch or like intuition is in fact a calculated digital fake – an illusion. Gestures and set pieces are pledges of themselves. Illusion or not – in the end it's something that didn't exist before.
/* STEPHEN WINTER */
[1] For the ironic "Strokes" in Roy Lichtenstein's work which are "impulsive under full control" digital tools would be great. But would the strokes of A.R. Penck ever exist digitally.