WILLI KISSMER

Willi Kissmer was born in Duisburg, Germany in 1951. From an early age he was drawn to the arts. At the beginning he was interested in music, playing guitar in a rock band and releasing three record albums. Then, in 1971, he decided to concentrate on the visual arts and enrolled at The Folkwangschule, Essen, where he studied printmaking for five years.

Kissmer’s approach always contains elements of realism using the nuances of light and shadow to surreal effect. For the first years of his career, his subjects were simple, everyday objects grouped together to create haunting still life studies. During this time Kissmer produced a large volume of work which always sought to fully realise the subtleties of his images in his chosen medium, no matter how long or complicated the process. This included etching and also painting with acrylics. He spent this time exploring possibilities and focusing his skills, becoming recognised for his talent and the particular qualities of his highly personal vision. He exhibited in numerous group and one-man shows.

In 1987, he spent six months living and working in the mountains of Dharamsala, India. This proved to be a turning point in career. He found a primary source of inspiration with fabrics and became fascinated with the ways that it could be shown either as a subject by itself or in erotic conjunction with the female form. At the same time he began a close relationship with Beate. With her, he discovered a dialogue which intensified his work and infused it with a definite presence. She was not only his model but also assisted in decisions regarding how materials could drape or stretch around her body.

For the past ten years, Kissmer has perfected his abilities to create images that generate excitement in the viewers’ imagination. The majority of his pictures are based on fabric – a common place item which one takes for granted. However, one is forced to reconcider its qualities when confronted with the power that Kissmer weaves into this basic material whether it is shown billowing, hanging limply, stretched tightly, twisted, creased, folded or draped.

With images that involve Beate, Kissmer introduces another element of intrigue. She can be casually standing in a silk slip or erotically bound in tight swathes. The contrast of cloth and skin is shown with exquisite precision. Very rarely is Beate seen in her entirety. As Kissmer states, ‘When I think erotic, it is always combined with textiles. What you can’t see you have to explore in a different way by using your imagination. It requires other senses to be used rather than just looking at it.’

They now live and work in their home town, Duisburg, in a Gothic revival tower overlooking The Rhine. He owns one of the largest etching presses in Europe and, with continual study and exploration of techniques, he is able to produce his own notated artist’s proofs to match his own exacting standards.

Kissmer is undeniably a modern master of painting and etching processes. Many artists are, but he is empowered with unique skills which give his work a greater depth that impacts powerfully on the sense’s reactions. Above all, the essence that summaries Kissmer’s work is its tactile qualities. To quote the Chairman of the Nevada Institute of Contemporary Art, ‘You don’t just see it; you touch it with your eyes.’