Some thoughts on my paintings

My painting has its origins in nature, where all things happen, light, shadow, haze, air in movement, and so on.
The landscapes that I paint are imaginary and only exist in my paintings. Each painting is a travel to an unknown world where forms and colours are become entangled. This generates plenty of feelings and images, coming from the imagination of the artist who wants to give them another reality than that of a landscape fixed in its immutability. An artist, whose name I forgot, once said we should be able to enter a painting. I would even say that we have to delve into it. Having a vision of the painting is one thing, but feeling this vision is another one. Like Manet said: the eye and the hand have to become one in our mind. These feelings often depend on the state of mind of the artist who wants to do a painting. The act of painting always remains an adventure, a challenge between the canvas and the artist. If he lets his subconscious guide his painting without having a concrete and determined subject, the result will be more abstract than figurative. Moreover, each of my paintings is as good as the others. If we look very close at the painting, the figuration disappears and abstract forms become visible; just as we find in every abstract piece some elements from the reality depending on the imagination of the viewer. In my painting you will rarely find straight lines because straight lines, as Hundertwasser said, are subversive. You could qualify my painting as “imaginary lyricism”. I describe, or better, I depict my travels with colours and you can enter my paintings with a little bit of imagination. My paintings are full of small details that you could see in a microscope. These details first don’t seem to have been created on purpose; they appear in an extemporaneous manner.
Concerning my palette and the effect of the colours on the viewer, I refer to Johannes Itten, an artist and theorist of Bauhaus who researched on the physiology, the psychology and the aesthetic of colours and on works that I realised with my students at the Miami University. In the tradition of Paul Klee, I attempt to make visible the invisible.

Biography:
Born in Luxemburg in 1936, eldest son of the architect Paul Dornseiffer, he began to draw at the age of 12 and did his first painting with 16. He went to a boy school and then undertook engineer studies in Zurich and Vienna, in parallel with Art studies. He was in contact with artists from the Viennese school. Back to Luxemburg, he ran courses on Art history at the Miami University from 1970 to 1977. He created a stamp for the Olympic Games in 1976. He produced mosaic and stained glass works in Wellenstein and was awarded the Grand Duke Adolphe Prize in 1971. He was Secrétaire du Cercle Artistique CAL (Artistic Circle of Luxemburg) from 1968 to 1980.
In 2000 he received his first Art Prize at an international exhibition of Limes. He currently lives and works in Luxemburg.