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Introduction to the exhibition „Three artists, three arts, three worlds“,

May 15th 2009, by Anna Eichhorn.

The world of Roman Eichhorn is populated by apparitions. Who, he denotes, come on their own account. The ladies from the series, „Mythische Salons“, appear in violet, white and black. Lost in their thoughts they remain in exultation. The nine piece painting,“ Mein Atelier im Kunsthaus“, lets them visualize out of the sight of the painter himself. They live in his studio amongst colors, movement, talking and blue birds. From out of the windows they look unto Wiesbaden, the temple on the Neroberg and the Marktkirche. And there at the market place they appear again, strolling in elegant robes to the fountain. Or they are even running in wild dances around it. Thoughts, beings and colors of many other paintings are meeting again on this frieze-like painting. The spirit of his atelier lives in Roman Eichhorns work......


Selected paintings (1991-2001)

Horst Schäfer.

Excerpt from speech of the opening of the exhibition at Verwaltungsgericht Wiesbaden, August 9th 2001

…..the bilingual Tryptichon „Gruß aus Kasachstan“. The painting reminds of the country where the artist was born, and furthermore, that those who emigrated into the land of the Russian Emperor, mostly during the reign of Katharina the Great, the so called Russian-Germans, had taken their German culture with them and cultivated it. Here pertaining to a German folk-song, no longer known here, which Eichhorn refers to in his painting and keeping it so alive.


Imagination as opening up.

Verena Flick. German-Russian Nr.10, Oktober 1997 Munich

The artist Roman Eichhorn has absolved a long and intense education in Moscow. During his studies he concentrated mainly on graphic arts. His early etchings show on one hand his capacity to reproduce reality in perfect manner, on the other hand his urge to question that which is behind reality. As a result of this the artist has turned more and more to painting. It is significant, that shortly after his breakthrough into painting, he emigrated to the west. He has been living in Wiesbaden since 1991. His breakthrough has lead the artist to dissolve strict linear procedures. Independent from whatever he had learned, in contrast he has developed a free and loose brushstroke, enabling a delicate use of colors. The specific thing of his style is, that in spite of the changes that have taken place his former perception still remains .The painting” New beginning“created in Moscow, in which a bicycle symbolizes the way to the west, shows photos of family members demonstrating that the experiences collected in the east are not lost for the artist. Quite the contrary: the distance from the actual reality makes it easy for Eichhorn, to use his own knowledge. In his paintings he shows that experiences are only possible through the phenomenon of remembrance and imagination. The capacity to control the variety of objective pictures is only possible, because we are capable of inventing inner pictures, where we keep what we have seen and make so recognition possible. The dissolving of strict realistic forms enables Eichhorn to let these inner pictures appear. That only gives the unreality in “Eichhorns opus” a specific reality. So the family photos that reappear in his work are like shadows and at the same time absolutely real, like our own family photos that appear in our dreams and memory. Many artists work with imagination, creating fantastic worlds that have nothing to do with concrete reality. With Eichhorn it seems that imagination is the other side of reality, an answer of the individual to concrete suggestions from daily life. Collisio, the latin word for collision, is thematic for most of Eichhorns paintings. In a new beginning this artist perceives and registrates always a break. That is why it is typical for him to work in cycles: always again concrete events destroy the illusion of a unbroken reality and asks the artist questions, that he tries to answer again and again. He always precedes from the singular situation, that he connects in continuing steps with the general, and attains so symbolic character. So the concrete wasp-nest, that the Eichhorn children have found while going for a walk and brought home, became more and more the symbol for their life in a community, where several parties have to share kitchen and sanitary equipment. Life in a shared apartment, anavoidable collisions with other people, make these two phenomena comparable. In the little chambers of the wasp-nest, it is only the imagination that creates breaking through and out of a world of confinement into a wider horizon. The opening into a closed inner space is the moment of imagination, a constant motive of Eichhorn which appears again and again. In the window,in the door,in the mirror, in television figures of his own ancestry and art appear, figures from Vermeer, Breughel. They often seem more real than the figure of the artist himself, who then simply seems to fade into the background. Photos of the ancestors appear as an opening into another world. But always the opening is very minimal, the separation between the two worlds still exists. With creative strength the artist uses the technique of chiaroscuro, where the figures of imagination can be seen clearly or as a shadow

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