Reiner Heidorn

Fruit of wrath 1

Name: Fruit of wrath 1
Brand: Reiner Heidorn
Price: 2150.0 GBP
Availability: InStock

Painting

Year: 2023

Edition: Unique

Technique: oil on canvas

Size: 80.0 X 60.0 X 3.0 cm 31.5 X 23.6 X 1.2 inch

Framed: No

£2,150.00

Created using the "Dissolutio" technique—meaning "disappearance"—this work dissolves the boundaries between humanity and nature. Thousands of tiny painted dots transform microscopic cellular structures and ecosystems into immersive fields of color. The work addresses climate change and human alienation from nature while offering viewers moments of psychological recovery and profound calm.

Reiner Heidorn is a German contemporary painter born in 1966 in Bavaria, where he continues to live and work in Weilheim, near Munich. Formally self-taught, Heidorn began with drawing and watercolor in his youth before dedicating himself to oil painting approximately 25 years ago. His monumental canvases are characterized by a unique technique he calls "Dissolutio" (Latin for "disappearance") through which he dissolves the boundaries between humanity and nature. Working in an empty factory hall, Heidorn creates large-scale oil paintings that transform microscopic cellular structures and freshwater ecosystems into vast, immersive fields of color. His work addresses climate change and human alienation from nature while offering viewers moments of psychological recovery and profound calm.

Education

Reiner Heidorn is formally self-taught, though this designation can be misleading. During his youth, he had the invaluable opportunity to collaborate with professional artists, learning at what he describes as "a deeper level" than conventional education might provide. He began with drawing and watercolor before dedicating himself to oil painting approximately 25 years ago, developing through constant practice the demanding technique that would become his signature. His autodidactic path gave him the freedom to forge his own approach, unbound by academic conventions.

Inspiration and Style

Reiner Heidorn's artistic vision is rooted in profound ecological consciousness and a deeply personal relationship with the Bavarian landscape of his childhood. His paintings emerge from what he describes as a "mental blend" of the lakes, forests, and natural environments he has experienced since youth, an organic memory that infuses every canvas without ever directly copying.

Ecological Philosophy
Heidorn's work positions itself as a direct antithesis to unregulated economic growth and humanity's alienation from its natural environment. His art addresses climate change, environmental destruction, and the loss of connection between humans and the biological world through immersive, meditative experiences rather than didactic imagery. His stated goal is both psychological and moral: to transmit calm and psychological recovery while emphasizing "the total insignificance of the individual" within the vast, interconnected web of life. His paintings echo the poetic wisdom that "even if the branch is dry, the root is always green."

Neo-Expressionist Bio-Divisionism
Heidorn's style bridges German Neo-Expressionism with what might be termed Bio-Divisionism, a contemporary evolution of divisionist technique applied not to optical light theory but to biological structure. His work creates a productive tension between the emotional intensity and large scale of expressionism and the precision of scientific observation. The visual language is dominated by green, not as background but as subject and voice. Art historian and curator Dr. Sonja Lechner has linked his use of green to Hölderlin's invocation of "the sacred green, the witness of the blessed, profound life of the world," conferring a metaphysical dimension to the color and creating universes without end. Complemented by blues and ochres, his palette evokes forests, lakes, cellular structures, and autonomous living worlds. The microscopic pointillist elements - thousands of tiny dots of color - organize into soft transitions and gradations. When viewers lose themselves in these details, they move beyond representation to perceive entire ecosystems: forests, lakes, plants, complete autonomous worlds. The technique creates both intimacy (in the obsessive detail) and vastness (in the overwhelming scale), generating what critics describe as "unexpected tenderness" within the vitality of forms.

Artistic Influences
Heidorn draws inspiration from Asian landscape art and European Expressionists, citing German artists from different eras: Dieter Roth, Hans Hartung, and Martin Kippenberger. These influences position him within both a strong gestural tradition and a conceptual, material critique of art-making itself.

Passage, Not Representation
Central to Heidorn's work is his assertion that his paintings are not representations but "passages", openings into living matter. His oversized canvases function as portals, inviting viewers to dissolve boundaries between self and nature, observer and observed. The work aspires to create "a space without borders," a personal universe where the artist, and by extension, the viewer, can "dissolve myself and all the negative environment."

Technique

Heidorn's technique centers on Dissolutio, a philosophical and technical framework embodying his desire to merge with and dissolve into the natural world. After years of narrative painting that found no resonance, he realized he wanted to create something that transmitted the very idea of dissolution itself.

To achieve this, he systematically violated every classical rule of oil painting. He mixes colors directly on canvas rather than on a palette, pours oil freely, refuses to properly prepare pigments, and embraces all the "mistakes" traditional painters avoid—bubbles, craters, wet patches, unpredictable chemical reactions. These defects are established as integral components of his technique, ensuring each work remains in a state of movement, incorporating transience as an aesthetic quality.

The result is "Bio-Divisionism" or "Microscopic Pointillism": a fusion where Heidorn transplants the pointillist patterns observed in microscopic images of plants, cells, and freshwater organisms into an expressionist framework. His canvases are composed of thousands of tiny, precise points of color that organize into soft transitions, creating infinite nuances of greens and blues. This technique transfers the visual language of scientific microscopy into emotional expression, bridging the analytical and the sublime.

Working with pigments, turpentine, and oil paints on oversized canvases, Heidorn creates each work entirely from memory, never using models or reference images, even when painting scientifically precise subjects like neurons, mitosis, or hydra. This subjectivizes science, transforming factual observation into what critics call an internalized "biological memory of the universe."

His production method is both rapid and serial. He often paints the same work four or five times simultaneously, keeping only the best results for exhibition and reworking or abandoning the rest. The oversized scale is fundamental: the canvases are designed to overwhelm viewers, functioning as portals that immerse them in living, mutating matter charged with interior tension.

Exhibitions

Heidorn has exhibited across Europe, North America, and Asia, including solo exhibitions at the Botanical Garden of Munich, The Nippon Club in New York, and participation in the Venice Architecture Biennale's Giudecca Art District. His work has been shown in venues across Germany, Austria, Italy, France, the United States, Brazil, Taiwan, and the UAE. His exhibition history demonstrates sustained international engagement with contemporary abstract painting focused on ecological themes.

Awards and Recognition

Heidorn has received significant recognition for his artistic practice:

2012: Studio Support Grant, Government of Bavaria, Germany
2020: Permanent acquisition by the Museum of Welheim, Bavaria
2021: Public installation commission, Landratsamt, Welheim

His work has been featured in Bavarian television and documented in exhibition catalogues, particularly those curated by Dr Sonja Lechner, whose critical support has been essential in establishing the theoretical framework for understanding Heidorn's Dissolutio technique within art historical discourse.