November 2015

Making kites took me to a big free space.
To work in the field of discrepancy between
physical and nature forces and fantasy is for
me a wonderful challenge. The tension to
realize the design I have in my mind and to
make it fly is very stimulating. When you
keep the mind open, you will be able to
find solutions and alternatives.
To place art pieces in the sky, with alwayschanging
light combined with the
movement caused by the wind, this is a very
special performance. Even the “color white”
gets another quality compared to the
situation on the ground.
To focus on cooperation with the wind
means to practice respect for nature for an
instant, an exercise mankind withdraws
from more and more.
◆◆◆
After my studies at the Academy of Fine Art
Vienna, my work covers fine art and applied
art. Changing between these two fields, I
can move my mind not to get in a routine.
I’m very interested in material and
technique, so I can respond.
I have been practicing textile print with
serigraphy for a long time. We know this
technique from the early 20th century when
pop art worked with photo exposure, but
this technique had its beginning in the Far
East, working with silk paper. Using paper
stencils allows me to work quickly and
spontaneously (see page 23). Doing so, I
can avoid a lot of chemicals, which is good
for the environment and my health. An even
color and sharp contours are typical for this
technique. Apart from painting, collage, and
sheet metal sculptures, silkscreen printing is
a recurrent point in my life.
I have organized an open house in my
studio two times a year for a long time. In
2001 at an event in my studio, I asked Jan
Houtermans to join my exhibition with his
very special paper and bamboo kites. He
suggested he help me build my own kite
using printed cotton. So I printed a sail and
he told me where to put the sticks, the
reinforcements, and the bridle. So I did, the
kite flew well, and I made another one (see
page 24). After that, I was still curious about
which material and form can fly.
I started to concentrate on the idea of
cooperating with wind. Wind? Wind force?
Changing movement?
Curious, I went on to research by trial and
error what forms can fly. Interestingly, not so
much error showed up – it flies more that
we think.
The material was clear: cotton or similar
fabric. It is not very often used in the kite
world, so I had to experience it on my own.
Many people told me that this material is
too heavy and it will get loose, but the
practice showed it is not so.
The weight is not so important for the flying
qualities. There is also the aspect of how
densely the fabric is woven and how
smooth the fibers are. Time after time, wash
by machine and the wind does the ironing.
Cotton kites are more tolerant with gusty
winds. I learned that even four-liners can be
made of this material.
The best feeling you can have is to fly a new
kite the first time. It is exciting, and more
other ideas turn up.
To start the construction of a new kite, I
draw a simple sketch and then I start
printing (see page 25). I never use graph
paper. I just cut the sail freehand, taking
care of the symmetry. Doing the sewing, I
continued on page 26
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