With diluted oil paint, I start with the first layer and work in the usual method over the whole picture.
As I work, I remember the characteristics of the species created in the painting from the photographs and the written notes, as well as from the pressed leaves. The surfaces of the fruit, the leaves, the branches are supposed to appear tangible, tactile. The white background, without landscape or colour, allows the objects to come to the fore best for me, to gain presence. The painting thus acquires the objectivity that is important to me alongside all apparent sensuality.
After this step, the working process of glazing the individual layers of paint on the objects begins, which often takes weeks. To achieve the result I want, I patiently work my way towards the desired volume of the apples, the liveliness of the leaves and branches, the spatial effect of the entire painting and the light reflections and colourfulness of the work, in a process acquired through years of trial and error, until the painting corresponds to my ideas.
With fine light reflections on leaves and blossoms, the shiny or matt shimmering, sensual surfaces, I want to encourage the viewer to touch, even to want to bite into one of the tempting fruits.
While on the one hand the pictorial objects are reproduced almost photo-realistically, at the same time they are intended to have an almost monumental character due to their painterly representation in multiple enlargements. How much I care about the detailed and botanically correct reproduction of the fruits is reflected in the titles of the pictures, which are in Latin.
Otto Schmitz-Hübsch laid the foundation for commercial apple growing in Germany, planting orchards from 1896 onwards and by the 1950s, Korbinian Aigner realized that progressive agriculture had almost completely swept away the enormous diversity of old regional varieties, which differed from one another in colour, size, scent, taste and sweetness.