“I work in image cycles; my works are universal and nevertheless very personal.”
With this statement, Karl Heinz Treiber tries to describe his art work.
His family, his mainly female models, and sometimes Karl Heinz Treiber himself are the main focus of the work cycles in his most recent work phase.
Odysseus, Dante‘s Inferno, Karl Heinz Treiber‘s thoughts on Ernst Jünger, Wagner’s Ring, impressions of the Fuehrer’s headquarters in Hitler’s Wolfsschanze (the Wolf’s Lair) in Masuria, self-portraits and an image of his own parents, life portrayal — as well as monumental mountains, architecture and industrial paintings — all document parts of his
oeuvre. Small-scale canvases discuss the compositions amongst them- selves before they naturally unfold onto mainly large canvases in his recent work.
At times, the artist finds his inspiration in urban environments, such as the metropolis New York City where reflections are of particular significance to him. The supplement- ation of his architectonic work with his intensive experience as a wan- derer in the Alps and the Himalayas is not only complementary, but also mandatory.
The work cycles are declined on several canvases; long phases with life portrayals are followed by severe images of architecture which then merge into detached landscape painting. In many of the image cycles, for example in Erwartungen des Wanderers (Expectations of the Wanderer), the image themes overlap; man, architecture and landscape blend into a symbiosis.
Übersetzung vom deutschen Originaltext: Lynn Schoene, 2013