Why he paints:
During his studies in Osnabrück he happened to hear a pianist
playing the Moonsline-Sonata by Beethoven (presto agitato) behind
a closed door in the Os. Castle. He was moved by the music and began
to play the piano.
Also during his studies he came into contact
with Modigliani`s pictures of women. He was touched by their mysterious
beauty and simplicity. He loved them – he began to paint.
Did he want to become a great pianist, a
Not really, but he wanted to achieve the ability to get the deepest
experience and feeling of his soul.
That`s why he plays the piano, that`s why he paints.
He feels the medium pastel-crayons like especially cut out for
him. He thinks a pastel-picture has a different form of expression
to one in oil. But for him they are equal in value.
He has succeeded in finding a way to avoid the decrease of colours
after using fixation.
That is, the originally colours are kept in their originally freshness.
By fixing the picture on fibreboard they are tightened and get
a softly shining glamour. The pictures do not need glass.
How he paints:
The idea of the picture is not given in advance. He finds it by
playing it out. In the process of painting with the many occurring
esthetic but also ethic decisions he tries to find his very heart
in the sense of an inner purification of the material items. He
knows about the fascination of the presentation of estranged worlds
and abysses, the fascination of the grotesque, the infernal etc.
This world is inside him, too.
Sometimes it threatens, suddenly attacks him.
But he wants to follow more the intuitions
of love and the presentiments of longing and yearning, because
they focus the core of our existence and make our lives senseful.
Surrealism is for him an expression of dematerialized
supernatural love, but not of the ferlorn absurd and senseless
For the better
understanding of his pictures:
His pictures are not a copy of the nature.
They are mental structures, projections. So the representation
of a woman is merely an organism that reflects the psychic an
esthetic reality and thus is released from nature like heaviness.
The face is nearly always in the centre.
The eyes, mostly closed or intensively , often show an oversubscription
in their direction. They are less an optic organ, but the expression
of an inner emotional status. They are inner perception and outward
message at the same time: It`s the same with the large zone above
the eyes, that enables inner rooms and process to be realized
He does not want to go into details about
the voluptuous lips in his pictures. The viewers are to feel out
for themselves. He believes that the touch of erotic in his pictures
refers to the soul.
He loves the long-led lines as an expression
of his own inner freedom.
A retired art professor from Nepal who moved
many Eing´s pictures near the Indian art said about his
lines they were like music.
He finds it somehow peculiar, that none of
the future viewers will own the painter´s psychic reality
and thus the picture always meets strange realities and remains
inaccessible to many. It seems amazing to him that there are people
who seem to get more satisfaction out of his pictures than he
does himself. It makes him happy to realize the existence of conformity
in this wonderful variety.