*1964 in Schwelm, Germany
Helge Hommes is especially well-known for his series of works “Waldesruh” (since 2001), “… mit der Leere als Gewand” (since 2005) and “Into the trees …” (since 2008). In these works, he stylized his main subject – the fragment of a tree, a branch or a twig – to almost abstract compositions regarding form and color. The massive and pasty application of color simulates haptically the tree, its bark and its volume in a quite realistic manner.
In his more recent series of works, “Du-Ich-Wir” (since 2011) and “Morgenland” (since 2014), Hommes starts to address the viewer in a more tangible way than ever, inquiring and sociocritical. The early reduced black and white compositions are followed by representational portraits (“Wir Familie”) and monumental diptychs of disturbing vehemence (“Wir” and “… das große Doppel-ICH”, 2011).
In these works, the artist assimilates various external influences on his person (of political, social as well as very private nature). This creative period finds its point of culmination by writing a manifesto entitled “Helge Macht Feuer” (2013) in which the artist poses the following questions: “How do we live? How do we’d like to live in the future? How can we live?” At the end of 2016, Hommes largely retreats from the gallery and exhibition business and begins to focus his thoughts on a new series of works: “Baum – Berg – Welten”.
So far, this is the most compact and most coherent body of work by Helge Hommes regarding its temporal genesis.
Developed between January and October 2017 (regarding the large formats), the cycle marks an decisive formal turning point in the artist’s oeuvre. It merges both the ability to synthesize the form and the subject as well as the ambition for naturalistic imitation and reproduction of the latter into an impressive picturesque vocabulary.
The artistic concern remains the same, basically. The tree, the mountain, the nature – all of them become projection screens for the sensitivity of the artist and through him, that of the human being in general.