Growing up within a French-German artscene, Rainer Magold has been influenced by artists such as Claude Monet, Auguste Rodin, Emile Carriere, a symbolist and friend of the family living in Strassbourg, Tamara de Lempicka, Mark Rothko and Sam Francis. During documenta 7 on the – international academy of creativity and interdisciplinary research” his teacher Joseph Beuys encouraged Magold to stick to his unique way. So Magold essentially has stayed faithfully to himself. He has worked with famous designers in Brasil, China, England, France, Germany, Israel, Italy, Skandinavia to develop fashion products for some of the largest mailorder companies worldwide. He is firm and unshakeable in his attitude to uncompromise against changing public expectations.
The paintings jump off the page with power and colour forcing the observer to look at them. Using strong colours, the paint is applied in a thick paste, as well as in fine colourfield techniques. The surface is thumbworked quite frequently, creating an immediate physical contact. His painterly talent is unquestionable. Structurally the paintings are carried out with consistency and burst with vitality. Perhaps the essence of his work is his personal honesty to make them alive.
“Colour flows, sprays like spume, clumps cloud-like together or draws a calligraphic trace. Sunstantial presence and an open duct, characterize Magolds style. Colours carry the expression of his masterpieces in the strongest way.”
Dr. U. Hauser-Suida, Mannheim/Germany
The works are full blooded erotic, always impressive. He paints what he wants to paint without any constraints. With a broad repertoire of modern techniques, he expresses his mystery themes. Magolds work is like a “diary of emotions”. Completed pictures are results of a spontaneous, nearly intoxicating duct, motivated by the artists emotional experience.
Land- and body scapelike impressions as well as proximity to mineral, vegetable and organic structures are characteristic for Magolds paintings.
However not in simple illustration but a conversion to life - to nature is his intention, as a mediative tool. His painting of emotions and free energies connects western arts with far eastern spirituality.
Magold paints the invisible which only he himself perceives, he paints his emotions. So by meeting his paintings one inevitably meets the artist. Magold thereby reveals his true self to us, mighty, strong and with mercyless honesty. In my judgement there are no more authentic arts than these.
Interior worlds, emerged from the deepest layers of the artists soul and mixed with the miscellaneous experiences of a life of creativity in fashion industries, which led the artist through nearly all continents, are being transformed into external worlds with their own right to exist taking shape as new realities.
Only the urge to paint, drives the painter to the canvas, without an artistic intention n'or a motive in mind. There is no plan of colourness. Painting means the absolute freedom to Magold, only restricted by his colour palette and that single emotion that is about to find its way out.
The artist begins his work on the canvas quasi purely relating to crafts, until he judges it worth to be colored. "Colours ennoble the painting" as Magold expresses it. Still everything is possible and for the first bit the artist begins his work with relatively transparent colours, to set a course. This way the basic orientation of the painting is set.
At some point within this stage however the moment arises, when the entire process of painting becomes independent and takes over leaving the painter a mere observer watching the painting unfold. Pure emotions now drive the process, colours become the sentiments choices only, in an intoxication of painting the piece defines itself independently. In an almost meditative state of mind the painting works the artistmuch more rather, than him being in control of the developing situation. In the understanding of the TAO - or nowadays ZEN-theories respectively the painter is not conducting but becomes the brush itself.
In 1913, Wassily Kandinsky once described very plastically the agony of the developing process of a picture. "Each painting forms technically in the same way, as the cosmos did, resulting from catastrophys which, from the primarily chaotic roar of instruments finally create a symphony - the music of the spheres. Work creation is world creation."
Leading his specific field, Magold is also a prominent representative of contemporary postmodernism. Thus his pictures represent the highest and yet most honest form of painting.
So allow yourself to be captured by the ever present vitality and energy of his works. Let yourself be seduced by his paintings and enjoy the power of their charm.
Citations: Dr. Hauser-Suida, Dr. Vagt-Beck