The urge to be creative never let go of me again. At the age of twenty-four, I gave up the vocation I had learned and joined the pavement artists. I kept my head above water for one summer long, drawing portraits in Munich/Germany. Without attending a school of art or studying, I embarked on a career in the art of drawing – my private tutor was the well-know German portraitist Hubert Schweizer – my models were the old masters.
I learned how to get to the typical expression of different people, to recognise the language of form in facial contours, to visualise the unmistakable and the unique - and with fewer and fewer strokes. This exploration inevitably led me to caricature.
I like people and I like what makes them individuals: what distinguishes one person from other, namely the human element. And I draw people the way I see them. Revealing characteristics which awaken what is hidden to life with a knowing wink, without caustic exaggeration and without causing injury - that is my trade.
Art starts precisely at what is hidden, even before the first stroke. With a mixture of situation comedy and a dash of ironic poetry, I bring my opposite number out of his or her shell, even quiet, reserved mortals. That is the entertainment that makes my drawing a real experience and is just an integral part of my vocation as a steady hand. I suppose it is my sensitivity for what is called for at a given time and my customer-oriented attitude that have made me successful so quickly in the event business.
A decisive factor in the attraction of my work is the speed, the first moment, the first second: what my eyes soak up flows to my hand as a impulse of motion in a reduced and condensed form. The process - an unstoppable string of intuitive reflexes that leave nothing to chance.
The result is a character study which surprises both me and the persons portrayed, who can also have a hearty laugh at their image. Here you can see: people have a lot more self-irony than you think.
. . . what you see is what I see.