Daniel Wille: Images Powered by Emotions
Anirealism is a new movement and movement that the artist has been developing lately. He gave the name anirealism himself. Its purpose is to extract figures and actions from frames using surfaces, structures, or items and materials that mimic them. Here he can use fabrics, glass, earth, dishes to bring a painting to life, but he strengthens it not as a painting technique, but with emotions.
Interview by Ummuhan Kazanc
Dear Daniel Wille, you have studied interior design but you work as a painter as well. When and how did you decide to work on painting?
As far as I remember I have started painting at the age of two or three and my first oil painting was at the age of for. My grandfather was able to keep it, even after a fire in the house where it was located. My father was not an artist, but he loved art history and collected books and prints of works, especially from the Renaissance period. At the age of three or four I was studying books and often went to museums where my grandfather took me. At the age of eight, I went to art school. I was immediately taken at the 3rd year, but I only had enough for a couple of classes and I ran away. I didn't want to paint vases and still life, but something I liked and was inspired by. But after 12 years I went back to the classical school of painting, composition and academic drawing in the Russian University at the Faculty of Design.
As for the Renaissance I still see its influence in my work and feel drawn to the frescos and the works of Buonarotti, Botticelli and others from that era. Paradoxically most of my latest were sold to Italian collectors. I also feel a strong synergy with my work as an interior designer and architect - it adds up and the creation of interiors is as much about proportions and the combination of colors same as painting. Often the design itself inspires me to paint something new.
In addition to classical painting techniques, you try to make the audience feel the presence of your compositions as if they are alive, with your subconscious and intuition. You create original works using acrylic and oil paints on cardboard, paper or canvas. What can you tell about your technique and philosophy of your art?
I also often use the principle of bas-relief and I divide the main figures in the composition into three plans - front, middle, and back - respectively what is closer stands out more and what is farther is flatter.
I am very fond of a painting that literally gives you a sense of movement, emotion, taste and atmosphere. It can be realism, impressionism, eclecticism, surrealism or whatever. But I always had the feeling that it was somewhere else, behind the glass, behind the screen. But then I discovered it was possible to create a sense of presence with real textures, materials that would break the boundaries between our world and the one created by the artist. It is possible to create parts of dresses or stones or books that are half in the picture and half outdoors, where they sway in the wind and age and become dusty as part of the picture and part of real objects.
You have quite interesting approach to the art of painting. Anirealism is a new trend that you have been developing lately. You gave the name Anirealism yourself. What is Anirealism?
Ani means “I” in Hebrew. With this title I wanted to convey the main goal of this new movement. I as a creator or I as a spectator connect with reality. Or I am in reality. In this case, reality means the world behind the canvas.
Your paintings have very mystic atmosphere. Your pictures present a foggy and hazy image. I get this soft and dreamy effect from your pictures called “Analyze That”, “In His Memories”, “Between Man and God (Masks)” and “Dream 4”. I think your intention is to have such an effect.
Yes, this is the whole trick, but here we go from the opposite. Due to expense of the texture that stands out over the canvas we have different layers of paint and it gives a sense of fog and depth of space. Texture makes it possible to hold one image and at the same time take away into the background of another. I usually do several images one after above other. And sometimes we can’t describe it, but the eye is able to capture it. I also often paint on plaster which is able to give this fog effect by lightening the paint. Or alternatively writing on dust. Which gives a sense of fog or smoke. The smoke kind of symbolizes time or fantasy or whatever you want to catch - it seems to be here, but a second later it’s not anymore.
Artwork “Apples of Dualism” created in Oltrerealism (Italian: Oltre - above) movement founded by you. Could you explain us Oltrerealism?
Oltre - realism is based on the perception of the human subconscious on different levels. In some ways it is similar to Surrealism in that it reaches deeper and interacts with the human inner world which is hidden behind frames and masks. One of my pieces in this style called Black apples symbolizes temptation as a core symbol of it - the apple in medieval painting and a collection of collage fragments are in a cyclical order showing birth, temptation, sin, weakness, instincts, love and reborn.
How did your friends and art experts in the art community react to your new approaches to art? I mean Anirealism and Oltrerealism.
It's hard to say. Most of my friends are more interested in architecture rather than painting. I am usually interested in their feelings and associations after viewing my work and trying to understand if what I have planned has been achieved or not.
Do you have exhibition in the near future? What is your future plans?
I am currently fascinated by writing film scripts and I think it would be interesting to apply this to my new works, to create a series of paintings with signs and riddles that only give an answer together and make a full story that would be displayed through several Works. I think it would be exciting.
This year I am planning an exhibition in UK, Austria as well as in Israel. Probably it will be not only an exhibition but also an installation with water which will contain some of my latest canvases.