Art Between Precision and Emotion
Reinhard Riedel seamlessly bridges two seemingly opposing worlds: the analytical precision of a mathematician and the intuitive expressiveness of an artist. A self-taught creator, he has spent decades refining a unique artistic language that spans figurative painting and sculpture. His works are deeply influenced by fashion photography and the techniques of photographic distortion—an aesthetic fascination that permeates his art.
Following a long career in IT management, Riedel now dedicates himself entirely to his artistic pursuits. His craftsmanship as a carpenter, blacksmith, and mason finds its way into his creations, alongside his deep understanding of digital possibilities. Yet, despite the rapid advancements in AI, his work remains a counterpoint—an expression of skill, vision, and a realistic visual language that keeps the human form at its core.
His work has been showcased in numerous international exhibitions, from New York to Vienna to Barcelona. With his striking imagery and technical mastery that resists abstraction, Reinhard Riedel creates art that is both timeless and captivating.
Reinhard Riedel
Statement
„I am a self-taught artist with a background in computer science and mathematics. Coming from a family of craftsmen, I have always been drawn to practical crafts, believing that art originates from craftsmanship. This led me inevitably to figurative and realistic painting and sculpture, while abstraction never truly interested me. Fashion photography and photographic manipulation, however, have always fascinated me.
For 20 years, I have honed my skills as a carpenter, blacksmith, and bricklayer, integrating these experiences into my artistic expression. My process begins with airbrush and pastel, layering watercolor, oil, and acrylic textures to create depth and distinct tactile qualities. To differentiate my work from AI-generated perfection, I introduce classic acrylic structures, impact metals, and boat varnish, forming unique stain textures.
Currently, I paint exclusively in a 38 x 38 cm square format, assembling individual works into polyptychs that encourage varied perspectives and viewer interaction. My next step is to incorporate digitalization—not as competition, but as a tool to redefine craftsmanship in the digital age. If my art triggers a "movie" in the viewer’s mind, I have achieved my ultimate artistic goal.“
Interview
Your artistic journey is shaped by both craftsmanship and technology. How do these two worlds interact in your creative process?
„From my point of view, this is not an interaction, but the other can grow and flourish on the back of the one.
It is always easy to explain something in retrospect. But why does something develop in this way? Was it inevitable or coincidental? Personally, I am an advocate of coincidence - and for me, coincidence becomes inevitability due to my tendency to really want to be able to do something. I came across the painter Gottfried Hellnwein by chance. And I was immediately obsessed with him - I wanted to be able to paint like him, not his disturbing motifs, but the beauty of youth. And to even come close to his artistry, you have to reach the so-called master level. And there is the so-called 10000 hours rule. You need this to get to where you can be with diligence and perseverance, regardless of talent. Only after that, or pretty much at the end, do you realize whether you have something like talent in addition to perseverance, or whether you are just a master of your craft. Only when you can do something professionally can you repeat it. Only by repeating can you compare, measure and improve. And that's where I am now. That's why I always work in series, and the combination of motifs in the hanging shows the effects through colors, techniques, details. Unfortunately, what you imagine in your head or on the screen is often not achievable through painting.“
You have a strong affinity for realism and figurative motifs, yet abstraction never attracted you. What is it about realism that continuously captivates you?
„I am interested in people and here the beauty of young people, especially in the phase of transformation from child to adult. In my view, evolution and nature have created something truly wonderful here. Children shed their childishness and blossom and everything is possible. And this phase of blossoming is only present for a very few years.
The non-figurative abstract is not alive for me. It consists of textures, structures, colors. Professionally worked out, it also has its charm. Especially when the viewer can then interpret something into it. I also intend to combine these possibilities with my realistic figurative approach.“
Fashion photography and its artistic distortions have influenced your work. What elements from this field inspire you most, and how do they translate into your paintings?
„The beautiful, the fantastic, the composition itself. My aim is to use these ideas and develop them further with painterly means. The photographer uses his tools, the camera and the photo studio. I use his result, turn it into my composition and complete it with my artistic skills to create my polypthychon. The buyer takes it and creates his own work of art by arranging and hanging it.“
Your layered painting technique involves airbrush, pastel, watercolor, oil, and acrylic textures. What drove you to develop this unique approach?
„If you are working as a craftsman, the craftsmanship determines the result decisively. If you commission a small bridge over a stream, the carpenter, the bricklayer or the metalworker will build a bridge. But the design will be completely different due to the craftsman's skills. And it is the same with painting. Pastel, watercolor, acrylic or oil on their own provide very special elaborations. Filter techniques in image processing programs show this very clearly. If you then combine these techniques in a suitable way, the result is something that I believe only exists in my way of working. So technical perfection, the unconditional will to master the craft and of course the desire for an artistic unique selling point is my driving force.“
The rise of AI-generated images presents new challenges for traditional artists. In what ways do you ensure that your work remains distinct and irreplaceable?
„Only if you succeed in creating something that cannot be achieved with prints. And these are surface techniques with special materials.
This creates a texture, a feel, structures and reflections that cannot be achieved with prints. These are then individual to a picture and cannot be reproduced by machine. It lives with the light where it is hung in a way that a print cannot.“
Your background in mathematics and IT suggests a highly structured mindset. How does this analytical perspective shape your artistic decisions?
„Actually only in the approach used in IT projects. Here you have to plan, describe and commit yourself before you go to the machine. You can then have ideas, ideas of what the user of the technology could have. However, there is no freedom when it comes to implementation. You have to know what you are doing and how.“
You often arrange your square-format paintings into polyptychs, creating an interactive experience for the viewer. What fascinates you about this modular approach?
„From my point of view, you have all the possibilities that 2D allows. The single image, ideally framed. Because of the square, it can be rotated. Then the arrangement next to each other, on top of each other, as a square or room installation; arranged thematically, in color and superficially arbitrarily. For some viewers this is too restless. After all, it is not a homogeneous overall picture that can have an effect; the eye cannot find a permanent visual axis. It jumps, it constantly changes depending on the viewer's focus. One idea here is that the interested party can also create their own work of art. He selects, combines, changes, rotates and thus becomes an artist. If the installation can then tell a story as a composition in the interpretation, then you have achieved what you can do with 2D.“
You often arrange your square-format paintings into polyptychs, creating an interactive experience for the viewer. What fascinates you about this modular approach?
„From my point of view, you have all the possibilities that 2D allows. The single image, ideally framed. Because of the square, it can be rotated. Then the arrangement next to each other, on top of each other, as a square or room installation; arranged thematically, in color and superficially arbitrarily. For some viewers this is too restless. After all, it is not a homogeneous overall picture that can have an effect; the eye cannot find a permanent visual axis. It jumps, it constantly changes depending on the viewer's focus. One idea here is that the interested party can also create their own work of art. He selects, combines, changes, rotates and thus becomes an artist. If the installation can then tell a story as a composition in the interpretation, then you have achieved what you can do with 2D.“
As someone who continuously refines their craftsmanship, what role does experimentation play in your artistic evolution?
„From my point of view, my technique is unique. And that is why it has only come about through trial and error, discarding and refining. The layers of paint with the different binders pastel, watercolor, wax and oil can only be combined and supplemented in the right order. If the incompatibilities are used, new effects can be achieved. Manufacturers are constantly experimenting, especially in the field of metallic or effect pencils or neon liners. In the past, manufacturers have created special pencils based on the ideas of famous artists, e.g. Picasso with his wax crayons.“
Your artworks are exhibited internationally, from New York to Vienna. How does cultural diversity influence your artistic vision?
„So far, my experience is still too limited. I am still looking for a specific audience that appreciates my realistic style of painting, which is not in the art zeitgeist, more than the art world in Germany, for example.“
Looking ahead, you plan to integrate digital elements into your work. What excites you most about this next phase of your artistic exploration?
„I am only interested in how digital technology can help me with my design work. For me as a computer scientist, this is only a means to an end and not a quality feature in itself, as it is marketed at art fairs.“
Reinhard Riedel
