Abstract Art Addicted
"Art is a mediator of the unspeakable."
Johann Wolfgang von Goethe
Biographical impressions
Born in Daun in the Eifel in 1974 and discovered as an artist as a teenager, Hella Ridder received individual support early on and was accompanied in her personal development until around 2001 by the German artist H. Roetter.
The artist turned to abstract painting as an emotionally and intuitively guided means of expression as early as this first creative period.
On the solid foundation of artistic training, an individual style and characteristic style quickly developed, which are based on the continuous development of new forms of expression and experiences with the aim of constantly changing artistic creation in abstraction. The observation of nature as well as the observation of human emotionality as a source of inspiration remain constant companions.
The artist, whose works are presented both internationally and nationally and are in demand by art collectors, now lives in Dortmund and Bergisch Gladbach after having stayed in Istanbul, Rheinbreitbach and Bonn.
Artistic approach
For me, the abstract landscape as a way for the individual to turn to the inner light was the first starting point for artistic considerations.
From this developed my curiosity about the penetration of emotional states and experiences that we are exposed to in the constant confrontation with our environment.
To give this being as well as nature an intuitive expression and to enable the viewer in a magical moment of interaction with the work of art access to this respective emotional state and thus a deep penetration of one's own individuality is currently my creative drive and inspiration.
Details and technology
I mostly work with acrylic on canvas, occasionally in combination with pastel chalk.
I am fascinated by the variation of brush and spatula and squeegee techniques.
Fade-out techniques in thick layers of wet paint can be found in my works as well as fine relief-like structures, which I rarely create using structure paste. Instead, I usually create suggested surface structures by applying thick layers of paint, which I usually shape with a spatula and design in complex multi-layer and drying processes.
Through the multiple and complex application of different colors and layers, my pictures get a special depth effect, which is often linked to the beginnings of a central perspective.
