The color with its expressiveness and sensuality is always at the center of my work.
With a nuanced harmony of shades, different surfaces, an intuitive choice of colors and the joy of experimenting, I condense dynamics and a complex coloring into melodic, sonorous compositions in my color painting.
Nicholas Bodde
As a painter and pianist, I am interested in the interplay between music and painting. The concern of my work is to make music visible with a pictorial language. The starting point for finding my own visual language was my collaboration with the German composer Gerhard Stäbler. The colour lines and grid patterns that spontaneously emerged to his music during the painting process later served as inspiration for the characteristic design features that developed in the works: Recurring rows of strokes, horizontal, vertical and diagonal superimpositions that give rise to diverse structures and patterns. These give the pictures an inner order in which melodies, rhythms, bars, pauses, syncopations and polyphony resonate. In the black-and-white-grey works, the preference for rhythmic events on the picture ground is particularly evident. The works with coloured rulings, on the other hand, emphasise gesture, sound and emotionality. The paintings resonate not only with well-known compositions, but also with their own sounds and melodies. In this respect, the works can be seen as an interplay of musical and painterly inspiration.
Nikola Dimitrov
The casual view of everyday life is the starting point of Friedhelm Falke’s painterly work. Falke processes spatial illuminations, wall colorations or the merging of light and space as brief, barely consciously perceived impressions of empty rooms, dark garages or nocturnal windows in passing into abstract compositions. In the visualization of fleeting and unconscious moments, he reduces reality to the triad of color, form and surface. Memories of peripheral places, architecture and light landscapes penetrate the painterly structure of his geometric color surfaces like an echo. However, Falke does not aim for spatial and object-related associations. His paintings are interpretations of remembered vision. The painterly condensation of reality into glazed colour spaces, which are interrupted by high-contrast areas, reveal seeing and remembering as constructs themselves.
Ursula Schöndeling , Heidelberger Kunstverein , 8.2018