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Magical Surrealism by Hermann Fuchs

8 min read
The-World-Spins-by-Hermann-Fuchs-36e70c134f491dc70ea0cf6cb1d93fc7
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Sunset-in-Egypt-by-Hermann-Fuchs-3178b5991b19838fe2423c0fe094ad93
Galaxy-No2-by-Hermann-Fuchs-4cc1f39a60ac044b9bac73a312918f05
Captain-Nemo-by-Hermann-Fuchs-746c559f4f69ce4c8820b9be6960c83d
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Black-Rain-No1-by-Hermann-Fuchs-235609640c0292b24cbdbd3fd1fa485f

Magical Surrealism - The unreal, the dreamlike is a fundamental element of surrealism. Freud's psychoanalysis influenced this art movement. Yet the surrealists themselves were by no means dreamers, disconnected from reality. Rather, the majority of them saw themselves as revolutionaries, as opponents of capitalist rule, bourgeois norms and conventions.

Space Station No1 by Hermann Fuchs

Formally significant for surrealism is, according to common doctrine: The motifs are drawn very precisely and accurately. There are clear and distinct shapes and colours and the motifs often stand in relation to each other in an unnatural way and are sometimes strongly alienated.

Moon by Hermann Fuchs

“In my works for the project ‘Surrealism’ there are mostly few motifs or only one at all.”

Galaxy No2 by Hermann Fuchs

“Important to me for surreality is in the sense of the first paragraph: 1.) The contrast between what is supposedly recognisably real and what has actually been transformed into the absurd, the dreamlike. 2.) Dominant colour matching. 3.) The effect on the imagination resulting from 1. and 2. That is why I chose the term ‘Magical Surrealism’.”

Earth by Hermann Fuchs

“What do I want? To provoke an intellectual examination of the works. To this end, the work must lead through emotion to the association and further to critical reflection.”

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Hermann Fuchs

The Austrian photographer Hermann Fuchs explored the medium of black-and-white photography theoretically and practically from 1976-1981.

"The theoretical basis was formed by a large number of books on the subjects of photography, positive/laboratory technology. Practical implementation was carried out with a Canon F1, metres of Ilford film material and my laboratory.

2005 „re-entry“ and until today theoretical and practical research of the medium digital photography and digital processing with Adobe Photoshop. The digital age opens up great innovative possibilities. Digital Imaging uses this potential. Many critics dismiss digital imaging as „gimmickry“, „arbitrariness“. Nothing is more serious!

Digital Imaging explores new possibilities of pictorial representation, stands for an aesthetic change of the original models, stands for the abstraction of the representational, and stands for change in the art scene.

What do I want? To provoke an intellectual examination of the works. To this end, the work must lead through emotion to the association and further to critical reflection. This succeeds through alienation or abstraction – through „peeling out“ the constituent elements of an object or their reinterpretation. In the digital world, I can use a variety of colours and forms that does not exist in the analogue world. This enables an aesthetic force that draws the viewer into a dialogue."

 

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Hermann Fuchs Portrait

Hermann Fuchs

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