GERMANY
ART AS A THOUGHTFUL PROCESS
Some artists do not create impulsively but through a thoughtful process where craftsmanship, intuition, science, and emotion merge in perfect balance. Reinhard Riedel is one such artist, one who translates the logic of numbers and algorithms from the worlds of mathematics and computer science onto the canvas, transforming them into a meticulously crafted artistic vision.
As a self-taught artist, he has combined the craftsmanship inherited from his family with techniques he has refined over the years, ranging from airbrush and pastels to oil and acrylic, enriched with metal leaf and marine varnish. His art is dynamic, adapting to light, perspective, and the rhythm of the viewer.
In this interview, he reveals what art means in the era of digital imagery, how craftsmanship withstands technology, and why perseverance is just as important as talent.
After a long career in IT management, you fully dedicated yourself to art, merging the analytical precision of a computer scientist and mathematician with the intuitive expressiveness of an artist. How did this unusual transition from the tech industry to the studio unfold, and in what ways has your diverse background shaped your creative process?
If we define art in the broadest sense as any human activity based on knowledge, practice, imagination, and intuition, then mathematics and computer science undoubtedly belong to this realm. Mathematics is an artificial construct, independent of our perceptible reality, built upon simple rules. It starts with numbers and numerical systems, forming a structured framework based on assertion and proof. Alongside algebra, geometry emerges as the next structuring element, operating across different dimensions while following the same fundamental principles.
Computer science, in contrast, creates an artificial reality that is even more tangible and influential. It employs tools such as computers, software, and the systems that arise from them, artificial constructs that ultimately become real, like the Internet. Every program and every technology initially imposes an artificial environment on its users, which then gradually integrates into their lives. From my perspective, this is the ultimate act of artistic creation. In a somewhat grandiose sense, it is akin to generating a form of non-biological "life." The evolution of platforms like the Internet, Facebook, or TikTok was never fully anticipated at their inception, yet they have developed in ways that resemble an organic process. This is where the opportunities and risks of artificial intelligence lie today. This artificially created world cannot be prevented by prohibitions. It emerges and evolves, and what it becomes remains to be seen.
At my core, I am not a technician but an artist, undoubtedly influenced by growing up in a family of craftsmen. My path into computer science and mathematics now seems logical in retrospect. And so, after my professional career, it was only natural to focus on the underlying principles of art.
As a self-taught artist, you come from a family of craftsmen and have refined your skills in woodworking, blacksmithing, and masonry over decades. How have these traditional crafts influenced your painting technique, and why do you believe that “art emerges from craftsmanship”?
Being shaped by craftsmanship means striving for mastery. Skill begins with trial and imitation, but true expertise develops only when repetition leads to refinement. To be a professional means being able to recreate something consistently. Only through repetition can one compare, measure, and improve. The moment an artist deliberately omits something, consciously turning a lack of technical mastery into an expressive choice, craftsmanship fully opens the path to art.
Your work is strongly rooted in figurative motifs and realism, whereas abstract art has never truly resonated with you. What continues to fascinate you about the realistic depiction of the human figure and the fleeting beauty of youth, as opposed to abstract forms?
Around 50 years ago, I opened an art book and instantly knew that I wanted to paint like Gottfried Helnwein. Not with his provocative themes, but with the ephemeral beauty of youth. When painting figuratively, especially realistically, the artist leaves little room for interpretation. The work is definitive. Either the composition and, in the case of portraits, the subject appeal to the viewer, or they don’t. Portraiture, in particular, relies on unrepeatable subtleties. Mona Lisa is a prime example. Many have tried to recreate that elusive expression, yet it remains, in my view, a stroke of chance within the broader composition. Much like life itself.
Abstract, non-figurative art follows a different principle. Here, foundational techniques play a crucial role. Palette knife work, pouring, blending, textures, color properties, and more. A true master utilizes the unpredictable elements of the process, the textures that emerge unintentionally, to shape them into a fully realized work of art. And because it is not tied to realism, the viewer is free to interpret it in their own way. Whether or not the artist intended a specific meaning ultimately becomes irrelevant.
Fashion photography and artistic photo manipulation have had a strong influence on your work. Which elements of this world inspire you the most, and how do you translate these visual concepts onto the canvas when composing your pieces?
Only beauty, the unique aspects of composition, simply what appeals to me. Artistic photo manipulation as a source of inspiration is becoming less important to me. With the ever-expanding digital possibilities, especially with AI, I now have more ideas and visual stimuli than I could ever fully realize.
Over the years, you have developed a multi-layered painting technique, combining different media from airbrush and pastel to watercolor, oil, and acrylic to create depth and tactile qualities in your works. You also incorporate traditional acrylic textures, metal leaf, and even marine varnish to achieve unique texture effects that cannot be replicated by machines. What led you to this experimental approach, and how does it help your work stand out in an era dominated by digital imagery?
Painting techniques play a decisive role in the final outcome. The filters in design programs, which can turn a photo into a watercolor, a pencil sketch, or an oil painting, make this abundantly clear.
My idea was to apply different painting techniques in a way that harnesses their individual strengths. The composition itself, which is the true creative act, is first developed digitally to establish the intended concept. Unlike a designer, however, I do not focus on details such as smooth color transitions at this stage. That refinement happens later, during the painting process.
A designer’s image, crafted with all available technical tools, can be printed on paper or canvas with perfect precision, something no realistic painter can compete with in terms of reproduction. Yet, the result remains flat, without depth, texture, or natural reflections. Through my techniques, I create a tangible dimension that a standard print cannot achieve on a purely technical level.
It is remarkable that you currently work exclusively in a 38 × 38 cm format, assembling multiple pieces into larger polyptychs to offer viewers different visual perspectives and an interactive experience. What inspired this modular presentation approach, and how does it shape the way audiences perceive your art?
As always, life is full of coincidences. Years ago, I exhibited my sculptures at an art fair. These were life-sized standing figures, unsurprisingly realistic in style. Above them, I had extra space for paintings, but only in small formats. After the pandemic, the stretcher bars I had originally planned to use, which were 40 cm in length, were unavailable, so I opted for 38 cm instead. Since a salon-style hanging is not permitted at art fairs, I came up with the idea of arranging them as a collage. The challenge was to showcase as much as possible without conflicting with the curator’s guidelines. A gallery later approached me, saying they were less interested in individual paintings but very intrigued by the collage concept.
From my perspective, this approach opens up every possible way to engage with two-dimensional art. Each individual piece stands on its own, ideally enhanced by a shadow gap frame. They can be displayed side by side or stacked vertically, arranged thematically, by color, or randomly. Since they are square, they can also be rotated. Collectors can create their own artwork by selecting and arranging pieces according to their taste, with the freedom to rearrange them whenever they like. The collage format introduces multiple visual axes, which can be slightly disorienting or create a sense of dynamic tension. Ideally, this results in a kind of "film" effect for the viewer, as their eyes never settle on the composition as a single, fixed image.
Based on your own experience, you have emphasized that achieving "mastery" in art requires years of dedicated work. You refer to the well-known rule of approximately 10,000 hours of practice as being more crucial than pure talent. What advice would you give to young artists who are just starting their creative journey and searching for their own artistic expression?
The 10,000-hour rule is a synonym for reaching a mastery level. It represents the technical skill that can be achieved solely through diligence and perseverance. A conductor once claimed that, given physical ability, anyone could learn to play an instrument in that time. Whether they become a soloist or a Picasso, however, is something that cannot be forced, no matter how much effort is invested.
I don’t believe that a young artist needs advice from me. They will naturally begin with something, experiment, refine their work, and if they are truly passionate about art, they will reach those 10,000 hours. Through that process, they will attain a level of craftsmanship and inevitably discover their own artistic identity. And we can all hope that dedication and perseverance will meet talent and genius, ensuring that the art world continues to be inspired by future Picassos.
In a time when digital technology increasingly dominates the art world, Reinhard Riedel remains steadfast in his belief that true art is irreplaceable because it carries the imprint of the artist's hand and spirit. His paintings are not just visual representations but dynamic compositions that shift with light, perspective, and the viewer’s perception.
His work merges precision with emotion, craftsmanship with artistic freedom, offering no definitive answers but inviting the viewer to create their own narrative.
His message to those entering the world of art is clear – there are no shortcuts to mastery. Only those who persist in their work, exploration, and learning will discover their true artistic voice.