This is a interview with Reinhard Riedel who appeared in our exhibition and publication “Contrast, Issue 2“.
How does the small-format square shape influence the way you approach both composition and detail within your work?
I have always been interested in motifs familiar to me, from fashion photography to photographic art. For a long time, I have used larger formats, mainly acrylic. By chance, I could not use this environment for a few weeks, so I switched to paper and coloured pencils. I quickly realized that this technique greatly helped me with my hyper-realistic painting style. Small formats initially because you have to paint less. Then came the idea that you can group small formats into a large format using a collage. And if it’s square, you can also rotate the pictures.
Your painting style is achieved by layering at least four layers of paint- can you explain your layering process in more detail and how do they contribute to the realism and depth in your work?
When I talk about pens here, I always mean pens, crayons, markers, fine liners, and pure pigments from different manufacturers. They differ significantly in terms of colour application, hardness, etc. I always start with an airbrush, pastels, and pure pigments. At this stage, I can’t use textures applied by brush or palette when working with the pencils later on. At some point, the canvas no longer absorbs the pastel, and the surface is fixed. Then come the water-soluble pencils. These cover again and can be used with classic watercolour techniques. These colours must be brought into contact with water. This is the only way to achieve maximum depth of colour. Next come fat-soluble pencils, wax and oil. Wax crayons are softer than oil crayons. Both can then be used with oil like classic oil paints. And the oil naturally also increases the colour intensity. The decisive factor is that pastel and watercolour pencils do not adhere to greasy surfaces. You can use masking techniques to take advantage of this or work with an intermediate varnish to get back to the beginning. Finally, come the classic glazes. Here, too, I use the highest quality oil pastels, which also dry quickly. I usually apply the structures in impasto gel for the background, which gives the first glossy effect and is painted over. Or I use the usual metallic effect foils (gold, silver, bronze) to create the metallic effects. Finally, oil varnish or boat varnish is used. As the surface is greasy, the boat varnish does not dry to a high gloss when applied thinly but forms puddles. The boat varnish now produces another effect that is favourable for me. As I have to exert pressure on the canvas with the pens, I can’t work with the canvas stretched out. That’s why the canvas is attached to a firm base. The boat varnish now creates stiffeners on the canvas. If I stretch the canvas onto the stretcher frame, tensile structures are made from the side diagonally to the centre, creating additional effects.
How do you incorporate digital tools into your creative process?
As I studied computer science and mathematics, I naturally made extensive use of these constantly evolving techniques to compose images.
Are there any new techniques or digital tools you’re interested to explore in your future projects/work?
Here, the new possibilities of AI will probably displace all realistic painting artists. Only a direct comparison will convince the buyer of the differences between a painted picture and a high-quality print. I have my justified doubts about whether he will be prepared to spend more money on it.
How do you see your artistic process evolving within the next few years?
This type of painting does not have a future, in my opinion. So, I’ll have to devote myself to composition using the new digital techniques or concentrate on my second mainstay, sculpture.