This is a very early painting “Flag” (50 by 60cm) that I created in the 80s of the last century. It is a style that I do not use anymore since 20 to 30 years: just oil on canvas – nowadays I use a hybrid technique with, in addition, pigments and sand. I still like this painting though; it is of course an abstract and the motive doesn’t have any particular meaning, although I’ve heard from people that you can read a lot into it, as it looks a bit like the Dutch or French flag or a beach chair, or both. It does have considerable dynamics and the colors are fresh and bright.
The bright colors are magnificent and well balanced in this particular painting. The nice thing is that if you are using oil colors they stay vibrant and alive for a very long time and there’s a certain deepness that oils create which is absent in other paints. I use a special impregnation that is added to the painting about a year after it has dried, and this makes the colors become even more alive. It also protects the paint over time. Although, if you apply it too early, the paint becomes flaky and falls off (haha, that’s not what you want). And why ‘protect’ paintings? It isn’t as if the people that purchase my work practice fencing on them.
The background of this painting is highly structured Acryl (unlike many of my other paintings I used only little sand or pigments), the dogs are in oil. Each dog differs slightly from the other, yet they all are very similar; I’ve used a paper template and some spraypaint to create and position the initial outlines. I developed this template technique in 2013, and it allows the creation of shapes in exactly the right position very quickly, yet as I soon discovered the risk is that the painting may look sterile and as if it came off a printing press. So the placement of the template in a deliberately deviating position and the final step of painting by hand with a rough brush is key to make the motives come alive.
A bright painting, with strong contrasts between the pale background and the dark blue of the animals. Ancient Egypt is mostly reflected by the shapes, not the colors.
My books and short stories received additional attention, this time in the newspaper Rhein Neckar Zeitung. A great interview about my work and sources of inspiration. The English translation of this German article can be found below. Here is the direct link to this February 1st, 2021 article. Here is the Article as PDF.
Curious about my books? Find them here on Goodreads.
The “Rheinmonster” short is available in English and German. For the English version, refer to the short story bundle “SHORT STORIES”.
English translation of the interview.
Clemens Suter-Crazzolara likes the city of Hockenheim: “I really enjoy living here.” Now he has set a monument to the city with his first horror story “The Rhine Monster”. It’s a mini science fiction book for young and old that is a little scary. It’s about a grandfather who tells his grandchildren a horror story about a dangerous monster. This monster is up to mischief in Hockenheim until two heroes take action against the monster. Will they actually defeat the monster?
That will not be revealed at this point. “It is my first book that I wrote in German,” says Clemens Suter-Crazzolara. So far, the 60-year-old has written three novels in English. It usually finds readers in Great Britain, the USA or Australia. A fourth novel is in the works and should appear later this year.
The author wrote his debut novel ten years ago: “I could no longer hold back the urge to write.” So he regularly got up at 3 or 4 a.m. to sit at his desk. Then he went to work. His first science fiction book is downright prophetic: An epidemic threatens the world. “By chance I chose a corona virus. As the current situation shows, it is one of the viruses that can quickly become dangerous through mutations.” The novel was published in 2011 and was successful. “With the actual Corona crisis, interest has increased again.”
Clemens Suter-Crazzolara actually comes from the Netherlands. Even as a child he loved to write. “I started a novel then,” he says. He still has the fragments. “They’re flying around somewhere.” After school, he had the choice of studying history, journalism or biology. The author decided to study biology. The first professional station was in Switzerland, where Suter did research in cell biology, also on HIV, and afterwards did his doctorate. He remembers the moment when he and colleagues looked at the first batch of HIV viruses delivered from the USA in their tubes: “We had respect for the danger.” He came to the Heidelberg University Clinic via the Max Planck Institute for Plant Breeding Research in Cologne and did research on Parkinson’s disease. “I was always on the search for the truth. This is how you advance research in small steps in search of cures.”
When he switched to the IT company SAP, the expert once again dealt with health issues, this time from the perspective of the software industry: “How is it possible, for example, to gain new information from the flood of data?” This know-how about viruses, infections, software programs and data flows into creative writing. Readers can deal with current future topics in an entertaining way.
The author publishes his books himself and markets them on the Internet as paperback and e-books. He is now looking for a publisher to publish his English books in Germany. The horror story of Hockenheim is already written in German. It should be noted that the chairman of the Kunstverein Hockenheim also paints and exhibits pictures. After deducting expenses, Clemens Suter-Crazzolara donates the proceeds from pictures and books to a good cause. “It’s great that I have the opportunity to write and paint – that’s where I want to help other people.”
Info: The e-book “Das Rheinmonster” is available in all eStores for 0.99€.
Originally I had planned an art exhibit of my work for June, and the organization of this live event was already initiated back in January, together with three other artists. But then the pandemic struck, and it became quite obvious that a live, on-site event was out of the question.
Luckily, through my previous job in business, I have experience in organizing remote events, so the decision to turn this “viral disaster” into a “virtual exhibit” was a relatively easy step to take. In the end, I managed to hand over a surprisingly high number of paintings and books through this approach. Perhaps you are interested in doing something similar, so let me share some tips and tricks on how to make this work.
Set the theme. I called my virtual event “the fundraiser against Corona” as my objective was to donate any proceeds to the WHO corona fund. This was the red tread through all communication.
Choose the timeframe. I took the month of May as the running time for the event.
Connect to your audience, I have a e-mail list with many subscribers, and emailing was centerpiece to the campaign. You can’t overwhelm people with continuous emails, so I designed just three emails: one for April with the general announcement, one for half of May, and a final closing email announcing that the event was almost over, with a final call to action.
Use a website as the central information resource. The link to that website should be simple so that it can be typed in by hand or communicated during a conversation, e.g. over the phone. Here’s mine: www.clemenssuter.com/papa.
Use all channels available. Not all people receive information through the same channel, as it turned out some customers heard about this campaign through Instagram, others through LinkedIn, and others through email. I pushed out the campaign through my website, email, Instagram, Pinterest, Twitter, tumblr, two sites on Facebook, YouTube… and a few others that I have in the meantime forgotten about ;-) Naturally you can also use any other way: even written letters or postcards.
Use a single, simple and unique hashtag across all social media. Check out my tag #cps_d2c. That hashtag allows all participants to find your work in their personal favorite channel, and it connects all channels.
Post and communicate continuously. Make sure to provide some piece of news every day, across many of the channels. Indicate which day it is: “today is the tenth day of the fundraiser” or “only five more days left for the fundraiser”. As an example, I shared details of a painting each day, or posted about one of my books every couple of days.
Use video. I made short movies that I posted on YouTube, telling why I was running the campaign. Even three weeks in, not all of the people that I had addressed understood what this was about, so you must keep on reiterating your goal. Vlogs are a great way to supplement blogs.
Talk about successes. If you sell your work, tell the audience about this right away. Also mention if you have successfully shipped a painting, or when it has arrived at the buyer. People will want to know that you can deliver. Also provide some guarantee that you will take the picture back if the buyer doesn’t like it. Naturally some buyers will want to look at the art too; so I organized live visits (in line with corona limitations).
Join forces with other artists. Actually, this is a call to action for YOU, if you create high quality art and literature. Imagine such a campaign with a number of artists, each with their own channels! That would lead to an impressive multiplication. If this approach interests you, contact me.
Several years ago, I started, inspired by Buddhist art, to paint landscapes. Especially mountainscapes, I should emphasize: I saw a few paintings by an Indian artist in a documentary and liked the bright colors and tranquility of the depicted scenes. I add a personal touch, in that I use very rich oil colors for the mountains, yet sand and pigments for the sky. Some of the paintings (not this one) you could theoretically view upside down as well. Concerning the process: creating the sky may take quite long, as the layers of paint and sand need to dry in between and the structure had to be „just right“… yet painting the mountains may take only an hour or so. If the mountains do not look good, I scrape off the oil paint completely, discard it and start again.
The frame of this painting is wood with black pigment (don’t touch the frame: you will get black hands :-)
Click on the tag „painting“ below for more of my work.
The Osaka aquarium is truly worthwhile to visit: it has a huge tank with millions of liters of seawater, that goes across four floors and holds meter-long sharks. The glass of this tank is 30cm thick – and specially made.
I snapped dozens of photos; which due to a slight error involving two left thumbs, a few glasses of cold sake and a Japanesekindergarten-teacher, spontaneously erased themselves from my camera. At 2 a.m. in the morning.
In creating this painting, I thus had to resort to my hazy memories of a somewhat smaller sweetwater fish that I recall having seen in one of the little tanks on the second floor. A friendly chap with a broad smile – this species wasn’t actually red but gray, nevertheless I’m sure he wouldn’t have objected to a splash of color.
This painting has a twin – about the same size and about the same fish. But the latter painting was bought by a fan and is now located in a home in Northern Greece.
This small painting dates back to pre-2000, I particularly like the way the depth of the sea is depicted through the use of sand of different colors. I have used very thick layers of blue oil paint for the body of the delphin.