Andreas Schulze

If snow marked a hard and deprived time in earlier times, today the fear of snow (chinophobia) has turned into a love of snow (chinophile). Since people have been able to sufficiently protect themselves from the hostile effects of snow and cold, artists have begun to see the white splendor with their visually differentiating eyes: Not as a meteorological phenomenon, but as a special condition, a perceptual change that shows “light” in its colorful facet, literally reflecting the entire color spectrum. From Breugel to Monet to Segantini: painting has significantly shaped our perception of snow within the last 100 years.

Not least in the process of the melting polar ice caps, as a result of global warming, there are also cultural aspects buried in snow in an expanded context. From a purely painterly point of view, however, a special process can be discovered in it, in which attention and refined perception are the basis for the aesthetic absorption of the environment.

In St.Moritz we have the snow directly in front of the studio door over the winter months. It will serve us for the workshop in the broadest sense as a painterly model. The theme is considered as a loose orientation framework that can be implemented completely freely, from concrete to experimental, artistic.