Combining the Western painting technique concept with the Eastern philosophy.
Petter Dittmar does his works on surfaces layered with some sort of paper made of burnt rice straw (merang). The surfaces are shaped by referring to ancient symbols, such as full circles, squares, and rectangles; those present a window with a certain nuance of color. To image the empty space, he hollowed the center of the surface with circular shapes.
On those merang layered surfaces, Dittmar created color brushes of light brown, grey, blue, red, and a mix of grey with golden yellow as the background. The basic coloring was then sealed off with a special tool, emitting the track of textured and varied lines, such as the curve, wave, and straight line. The entire details can be seen on the painting titled “Color Window” that presents tracks of curved linings on the base of red color, which then centralized on the square surface posing a cloe colored window.
On some of his works, above the basic color he would create a variety of surface by the spreading of certain colors that expose the impression of transparency and sometimes show the accentuation of bright red, black, and golden yellow surfaces. On some of his other works, he arranges the composition of spontaneous lines and the sparks of colors that shape into calligraphy, such can be seen on his work titled “Small Color Window”.
Peter Dittmar made the effort of combining the Western painting technique concept with Eastern philosophy. The portraying of surface and colors refer to the concept and philosophy of mandala (mystical surfaces), making it a whole combination in his works that give spiritual impressions.
Peter Dittmar was born in Munich, Germany, in year 1945. From 1983 through 1984 he lectured on fine-arts subject at the Jakarta Art Institute (IKJ). He has been holding numerous collective and sole exhibitions at the major cities of the world. Since 1982 he resides in Bali, and in year 2002 he opened his own studio in Sydney.
Petter Dittmar does his works on surfaces layered with some sort of paper made of burnt rice straw (merang). The surfaces are shaped by referring to ancient symbols, such as full circles, squares, and rectangles; those present a window with a certain nuance of color. To image the empty space, he hollowed the center of the surface with circular shapes.
On those merang layered surfaces, Dittmar created color brushes of light brown, grey, blue, red, and a mix of grey with golden yellow as the background. The basic coloring was then sealed off with a special tool, emitting the track of textured and varied lines, such as the curve, wave, and straight line. The entire details can be seen on the painting titled “Color Window” that presents tracks of curved linings on the base of red color, which then centralized on the square surface posing a cloe colored window.
On some of his works, above the basic color he would create a variety of surface by the spreading of certain colors that expose the impression of transparency and sometimes show the accentuation of bright red, black, and golden yellow surfaces. On some of his other works, he arranges the composition of spontaneous lines and the sparks of colors that shape into calligraphy, such can be seen on his work titled “Small Color Window”.
Peter Dittmar made the effort of combining the Western painting technique concept with Eastern philosophy. The portraying of surface and colors refer to the concept and philosophy of mandala (mystical surfaces), making it a whole combination in his works that give spiritual impressions.
Peter Dittmar was born in Munich, Germany, in year 1945. From 1983 through 1984 he lectured on fine-arts subject at the Jakarta Art Institute (IKJ). He has been holding numerous collective and sole exhibitions at the major cities of the world. Since 1982 he resides in Bali, and in year 2002 he opened his own studio in Sydney.
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