„Science unlocks the secrets of Nature, Art unlocks the world of Wonder, Experiments create new pathways, and Alchemy gives us a window into the Cosmos“ (AI.,2023)
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JACKY – JACQUELINE LEE BOUVIER KENNEDY ONASSIS, 2018
Ink, aluminum, copper burned on paper
work dimensions:
29,7 x 21 cm
11.7 x 8.3 in
frame dimensions:
37,7 x 29,1 cm
14.84 x 11.46 in
NIZZA3
„NIZZA3“ is a visionary landscape painted in an alchemical manner. Here, old and new materials such as tar, shellac, boat paint, aluminium powder, oil and ink are used to create illusory and abstract forms. A specially created primer and paint mixture creates the basis for layers of colour. „NIZZA3“ encompasses religious themes, alchemy, apocalypse and new beginnings.
NIZZA3, 2018
Oil, tar, ink, ink, aluminum, copper, shellac on wood
42 x 38,4 x 1,5 cm
16.54 x 15.12 x 0.59 in
UNTITLED, 2018
Iron oxide black, cooper, aluminium on paper
42 x 59,4 cm
16.5 x 23.4 in
UNTITLED, 2014
Oil, ink, tar, pigments, pen ink, boat varnish on Alu-DIBOND
30 x 40 cm
11.81 x 15.75 in
UNTITLED, 2018
Iron oxide black, ink, cooper, aluminium on paper
42 x 29,7 cm
16.5 x 16.5 in
LEMURIA 2018
LEMURIA 2018, 2018
Mixed Media
29,7 x 21cm
11.7 x 8.3 in
PLASMA, 2014
Oil, ink, tar on canvas
55 x 57 cm
21.65 x 22.44 in
PARTY HEAD, 2014
Oil, ink, tar, copper, aluminum, shellack, pigments on canvas
120 x 100 cm
47.24 x 39.37 in
Select RL/P-19-107
UNTITLED, 2019
Oil, ink, metal pigments, aluminum, shallac, bronze, graphite on linen.
190 x 145 cm
74.8 x 57.09 in
ISLAND PORTRAITS, 2014
Oil, tar, shellac on aluminum
100 x 80 x 5 cm
39.37 x 31.5 x 1.97 in
„(…)Seine Bilder erinnern auf den ersten Blick an Landschaften kosmischer Art. Der Entstehungsprozess dahinter ist ähnlich komplex wie der Bildaufbau – nachdem Robert Lanz die Leinwand grundiert folgen noch zahlreiche Schichten. Mitunter wird das Material angegriffen, abgeschabt oder beklebt. Die zumeist dunkle Farbpalette wird mit fein glitzernden Kristallen überzogen. Der dadurch entstehende, schimmernde Perlmutteffekt wirkt wie körnige Asche. Nicht selten toppt ein japanisch anmutender Tuscheschleier seine Bilder, durch dessen Vernebelung die Sicht des Betrachters getrübt wird.
Zwar tragen Lanz Arbeiten selten einen Titel, wenn der Maler sich aber doch für einen Namen entscheidet – zum Beispiel bei seinen Arbeiten „Fokushima“ und dem Porträt „Andy Warhol“ – passiert das ganz bewusst. Der Betrachter überträgt seine Assoziationen auf das Bild, erweitert dadurch seine eigene Reflexion und taucht so in die Gedanken- und Gefühlswelt des Künstlers ein“
(Galerie Evelyn Drewes, Hamburg)
„(…) At first glance his pictures are reminiscent of landscapes of a cosmic nature. The process behind it is just as complex as the composition of the picture – after Robert Lanz has primed the canvas, numerous layers follow. Sometimes the material is attacked, scraped off or pasted over. The mostly dark color palette is covered with finely glittering crystals. The resulting shimmering mother-of-pearl effect looks like granular ash. It is not uncommon for his pictures to be topped by a Japanese-style veil of ink, which obscures the viewer's view.
Although Lanz's works rarely bear a title, when the painter decides on a name – for example in his works „Fokushima“ and the portrait „Andy Warhol“ – this is done quite consciously. The viewer transfers his associations to the picture, thereby expanding his own reflection and thus immersing himself in the artist's world of thoughts and feelings“
(Gallery Evelyn Drewes, Hamburg)
CATDOG, 2014
Oil, ink, tar, pen ink on Alu-DIBOND on wood frame
50 x 60 cm
19.69 x 23.62 in
Select CATDOG
PORTRAITS, 2015
Oil, ink, tar, copper, schellack, pigments on canvas
90 x 80 cm
35.43 x 31.5 in
CONCEPTUAL DNA, 2018
Iron oxide black, ink, cooper, aluminium on paper
42 x 29,7 cm
16.5 x 16.5 in
MEMORY BUOY
MEMORY BUOY, 2018
Indian ink, aluminum, copper, iron oxide black, shellac, acrylic primer on paper.
29,7 x 21 cm
11,7 x 8,3 in
FOKUSHIMA
CORPUS DETECTI
CORPUS DETECTI, 2008
Oil, tar, shellac,ink, pigments, tape on board
260 x 190 cm
102.36 x 74.8 in