Interview with Michael Kaphengst
“I could also paint spinach”
Michael Kaphengst
Given the personal and emotional origins of your artistic journey, how do you navigate the boundary between personal catharsis and universal communication in your work, especially when addressing themes that resonate on a deeply individual level?
My difficult childhood profoundly influenced my worldview and, consequently, my art. Navigating the boundary between personal catharsis and universal communication involves a delicate balance. While my art is deeply rooted in personal experiences, I strive to convey emotions and themes that resonate universally.
During my childhood, I often tried to block out my everyday struggles, not wanting my friends to see the pain I was experiencing. This effort to separate my personal turmoil from my interactions with others taught me the importance of resilience and empathy. In my art, I channel these personal experiences into a broader narrative, aiming to evoke a shared emotional response. By transforming my individual pain into a universal language, I hope to connect with others on a deeper level, allowing them to find their own reflections and meanings in my work.
You describe your approach as "consumptive surrealism", a term that suggests a critique embedded in aesthetics. Can you explain the process of integrating socio-political commentary on consumerism into the visually surreal elements of your art?
First of all, I started integrating consumer objects into a surreal motif very early on, without fully understanding the implications. The term “consumptive surrealism” and the theory behind it only occurred to me in 1995, coinciding with my development of “LINEARISM,” where I began breaking down my motifs into colored lines.
My idea of “consumptive surrealism” is not intended as a critique. Instead, it represents a new perspective on the consumer world as a process. Consumer objects, such as a new car model or a new tool, trigger needs within us. Numerous processes are involved in their production, and my art aims to reflect this intricate interplay between consumerism and our desires.
The use of a rapier in your "fencing paintings" brings physicality and immediacy to the act of painting. How do you think this physical engagement with the canvas changes the conceptual energy of the artwork, and what do you want the audience to derive from this kinetic method?
The use of a rapier in my “fencing paintings” allows me to channel my desire and passion directly onto the canvas. This physical engagement transforms my emotions into artistic energy, much like a boxer releasing frustration on a punching bag. This method brings a dynamic and immediate quality to my work, infusing it with a raw, kinetic energy.
By engaging physically with the canvas, I aim to convey a sense of urgency and intensity that resonates with the viewer. I want the audience to feel the immediacy of the creative process and the emotional depth behind each stroke.
When discussing the integration of acting and the visual arts, you mentioned that performance influenced your paintings. Could you elaborate on how the temporality and transience of performance art influenced your more permanent visual works?
While I may not have phrased it exactly that way, my training in acting and fencing has significantly influenced my visual art. In acting, especially for plays involving fencing, we practice precise choreography to make the performance appear spontaneous. This blend of preparation and apparent spontaneity deeply impacted my approach to painting.
The temporality and transience of performance art, where each moment is fleeting and unique, inspired my “Fencing Pictures - Absolute Linearism.” The physicality and immediacy of fencing, combined with the structured yet ephemeral nature of performance, led me to explore similar dynamics in my paintings. Each stroke with the rapier on the canvas captures a moment of action, reflecting the transient energy of performance art in a more permanent medium.
Without my acting training and fencing lessons, I might not have conceived the idea for my “Fencing Pictures.” These experiences taught me to appreciate the balance between control and spontaneity.
Artists often face phases of doubt and reassessment of their work. Can you remember a particular moment or work that brought about a significant change in your artistic direction or philosophy? How did you resolve the tension between previous approaches and new insights?
As an artist, I’m always seeking new impressions and ideas. One particular moment that brought about a significant change in my artistic direction occurred during a mundane activity we all know well.
While on a long phone call, I found myself absentmindedly scribbling on a piece of paper with a ballpoint pen. These scribbles, or draft sketches, are common in graphics. After the call, I examined my doodles and realized they lacked consistency. This observation sparked a desire to create more consistent drawings.
In 2012, I began experimenting with putting lines on paper in uncontrolled circular movements but with a consistent approach. This led to the development of what I call “extreme linearism.” This method allowed me to resolve the tension between my previous, more spontaneous approaches and my new insights into consistency and control.
This experience taught me that even in moments of doubt and reassessment, new techniques and philosophies can emerge from the simplest activities. It reinforced the idea that artistic growth often comes from embracing and refining everyday experiences.
Your artistic career has been marked by a journey from adversity to recognition. How do you reconcile the intrinsic, often lonely process of artistic creation with the external validation of awards and public recognition?
For me, awards encompass not only formal recognitions but also interviews, books, and newspaper articles. Each of these is an award in its own right, as they help spread my ideas internationally. This dissemination of my work is just as important as traditional awards. Social media also plays a crucial role in this process, making it vital for artists today.
The many publications and mentions serve as a significant incentive for me. The more my work is written about or published, the more people I can reach. This broader reach is essential and drives me forward.
Reconciling the often-lonely process of artistic creation with external validation involves recognizing that both aspects are integral to my journey. While the act of creating art is deeply personal and solitary, the recognition and validation from the public and media provide a sense of connection and purpose. They remind me that my work resonates with others and has an impact beyond my studio.
Given the role of art in social dialogue, how do you measure the success of a work that sparks conversation or change? Is there a particular work of yours that has been more successful than others in this regard, and why do you think it has been so well received?
One of my most successful works in sparking conversation and change is “The Duel” (1992). This piece features a Coca-Cola bottle and a Pepsi bottle, each adorned with a western hat and gun belt, facing each other in a classic western showdown. It symbolizes the intense competition between these two global beverage giants.
The setting of “high noon in the consumer world” captures the essence of their rivalry. By leaving both bottles intact, I deliberately left the outcome of the duel ambiguous, inviting viewers to contemplate the nature of competition and consumerism.
This work has consistently attracted attention and sparked dialogue. I believe its success lies in its ability to offer a new perspective on a familiar rivalry. By presenting the two bottles in a surreal, yet relatable context, the piece encourages viewers to reflect on the broader implications of consumer culture. The surreal depiction of this rivalry, with the bottles not being the typical POP icons at the centre of the action, adds depth and intrigue, making it resonate with a wide audience.
How do you think the themes of your art will evolve in light of global changes in technology, consumer behavior and environmental awareness? Are there new themes you would like to explore in response to these changes?
My ideas have been formulated so far, and my goal for the future is to continue developing them. While I can’t predict exactly what new concepts will come to mind, I am committed to exploring interesting motifs as they arise.
My art provides a wide spectrum of possibilities for implementing new themes. Whether through traditional media or incorporating new technologies, I aim to create works that resonate with contemporary issues and provoke thought and dialogue. As I continue to work, I hope to find innovative ways to address evolving themes and engage with my audience on a deeper level.
Considering your unique approach to art and its reception, how do you see your role within the broader art community? Do you view yourself more as an innovator, a commentator, or perhaps a provocateur, and why?
I see myself more as an outsider within the broader art community, though perhaps an innovator in a secondary sense. My view of art is quite daring and not suitable for the mainstream, which positions me uniquely. This outsider status is also where my opportunity lies, as what I contribute to art is distinctly my own, under the identity of Michael Kaphengst “THE LINEARIST.”
While conforming to the mainstream might offer more financial opportunities, I value the authenticity and originality of my work. My role is to challenge conventional perspectives and push boundaries, even if it means remaining on the fringes of the art scene. This approach allows me to stay true to my vision and continue exploring new, uncharted territories in art.
