Jolanda Richter’s Magical Surrealism
olanda Richter’s paintings are not easy. There are no subtle hues to soak in, no soothing brook to dip our toes.
There is struggle here, yearning. Sometimes her subjects are swimming up to ceilings and out windows, other times free-fall tumbling. The hardest of all is when no movement is possible ~ the surrounding walls so close we can feel chests tightening. The fighting for air. And yet…
We cannot look away. We stay. And struggle with her.
Deanna Elaine Piowaty: Who initially inspired you to start exploring art and music as a girl? Do you come from an artistic family?
Jolanda Richter: Everyone played an instrument in my family but not as professional musicians. So to study music was my first choice, because we didn’t have any painters in the family or friends as role models. But drawing was my favorite form of expression since childhood, even more than speaking. I preferred studying art encyclopedias for hours instead of playing with other children. Looking at paintings was more important to me than anything else, a world in which I found shelter. This was entirely naturally to me, a matter of course. And so I never stopped drawing.
Deanna Elaine Piowaty: Do you have a favorite composer or piece you like to play or listen to while you paint? What is it about the cello that speaks to your soul?
Jolanda Richter: I have several favorite composers and pieces: I love requiems, especially that from Gabriel Fauré!
Jolanda Richter: Some of my other favorite composers are Jean Sibelius, Charles Gounod, Sergei Rachmaninow, Edward Elgar, Samuel Barber, Dmitri Shostakovich, Karl Weigl, Wilhelm Stenhammar, Alan Hovhaness, William Wallace, Ralph Vaughan Williams, Gustav Holst, Joly Braga Santos.
I do more listening to the cello than playing it. I love the cello concertos from Edward Elgar.
Jolanda Richter: Or from Dmitri Shostakovich.
In the family of instruments, the cello represents the melancholy in music, as in the dying swan cello part in “Le Carnaval des Animaux” from Camille Saint-Saëns.
Deanna Elaine Piowaty: Do you hear music when you paint?
Jolanda Richter: When I am standing in front of a painting from an old master in a museum, this painting is not just an object but a vivid storytelling world which provides a vision into the painter. For me, art is a special kind of language. I always hear music when I am painting, yes, a special piece for every painting, and I see pictures in my imagination while listening to music.
Deanna Elaine Piowaty: When I gaze at your paintings, I perceive much yearning coming from your female subjects, much tension between them and their surroundings. There is a sense that they are trying desperately to get somewhere, but that in many instances they encounter obstacles that hold them back. Is this an accurate perception?
Jolanda Richter: Yes! The best short description of my work I have ever heard. My compliments to you! While my paintings are a part of myself, completely and authentically, I am reflecting also our society with its hopes, fears and problems. In particular, my female subjects are a mirror of the position of women in our time and society.
Deanna Elaine Piowaty: What do you hope your viewers will experience when they look at your pieces? Do you have one that is a particular favorite?
Jolanda Richter: When I present my work, the viewer is asked to reflect on his or her own emotions, thus conceptual and perceptual are both up to the audience. For me, there is no difference between these aspects. The viewer has to search his or her innermost feelings in order to understand. My particular favorite piece is always the one I am painting at the moment.
Deanna Elaine Piowaty: Have you ever been surprised with a viewer’s interpretation or reaction?
Jolanda Richter: Of course! When I started to exhibit I couldn’t handle some surprising reactions very well. But later, I understood that getting extreme reactions, whether positive or negative, was important and precious.
Deanna Elaine Piowaty: You moved from the Netherlands to Hamburg and then to Vienna, all before the age of six. Do you think being exposed to these different cultures has influenced you as an artist?
Jolanda Richter: Yes, I think so, but in a different way. Moving very often made me introverted and a person who feels at home only inside myself.
Deanna Elaine Piowaty: Who are some of your greatest influences?
Jolanda Richter:…Jean Delville, Fernand Khnopff…
Deanna Elaine Piowaty: What do you feel are the most important qualities one must possess to become a great artist?
Jolanda Richter: Rich parents! But if you don’t have that luxury, like me, you have to work harder.
Deanna Elaine Piowaty: What stories or themes are you carrying with you now that you hope to explore next?
Jolanda Richter: I am in a permanent process of developing my main theme. I have to figure this out more as a creative flow than an intellectual decision. There are many ideas I develop, but when it comes to working something out, I let my intuition be my guide.
To view more of Jolanda Richter‘s work, please visit her artpage at: jolanda.at.