We are thrilled to welcome Dennis Schikora to our artist representation program and start working with him in many different projects.

Dennis Schikora (b. 2000 Germany) is an abstract painter that is fascinated by the subjects of limitation and incompleteness, he transmutes nuanced feelings of ephemerality into dynamic compositions, using various mixed media techniques. The artist seeks to explore the intricacies of impermanence and instability in an effort to understand the complexities of human experience.

He develops an artistic process that is characterized by going back and forth, adding and reducing and manipulating forms, color and texture by constantly questioning his body of work, resulting doubts and failure are utilized and find their way onto the canvas in the form of mark-making and deconstructed, bold brushstrokes.

1. Who is Dennis Schikora?

I am still figuring out, for now I am a 24 year old painter from Germany.

2. What was your first experience with art?

I don't remember exactly how it came about, but since I was already interested in fashion and design at an early age, I think it was a fairly natural path to art. My first big fascination was with the artists of the 1940s and 1950s. I repeatedly looked at the works of Robert Motherwell, Cy Twombly, and Ad Reinhardt. Additionally, I found the works of Jean Dubuffet and the anti-academic aesthetics of Art Brut very interesting. I'm also glad to have encountered Viennese Actionism, which I found very fascinating.

3. Is anyone in your family an artist? Has your family had a strong influence on your interest in art?

In my family, no one is inclined towards art, but that has certainly had an influence as kind of a negative example. I don't know if I would say I'm a free spirit, but at least I have a very idiosyncratic idea of life that almost seems too constructed. I have always created things and happily tried out various artistic disciplines, and it has just always stayed that way for me. For me, it has always been a healthy immersion and a way to find myself. I just had to do it this way to feel good.

I don't know if I would say I'm a free spirit, but at least I have a very idiosyncratic idea of life that almost seems too constructed.

4. Tell us about your academic background. When and why did you know you wanted to be an artist?

There’s not much to say, I did not study art and that was a deliberate choice, I never liked the idea of structural freedom, I was always creating from a very young age and even though it took a lot of time to learn what I needed to, this way of learning was crucial for my development as a painter. The way I work is a lot about repetition, going back and forth, a lot of experimenting. I’ve often ended up with the same results and followed a similar path to learn techniques, but the unguided, precarious balancing towards learning success carries the risk and hope of discovering something new, that is exciting to me.

[…] the unguided, precarious balancing towards learning success carries the risk and hope of discovering something new, that is exciting to me.

5. Which artists and works do you like the most? Do you draw inspiration from them?

There are many many artists whose works I greatly appreciate, including the works of Joan Mitchell, Hans Hartung, Neo Rauch and Georg Baselitz. That surely has an influence on me. However, it's often the body of work as a whole that is impressive or certain qualities about their work, like the sheer scale of Julian Schnabels paintings or the use of materials in Alberto Burri‘s works. I also always find drawings on paper to be an intimate and inspiring insight, a lot of Egon Schiele and Günther Brus drawings speak to me. But I try not to be too distracted. After all, anyone who is not blind adapts, and every artist wants to avoid that somehow.

6. Apart from drawing inspiration from other artists? What other things inspire you (books, things, people, events, etc.)?

I enjoy a lot of classic literature, especially German romanticism and its emphasis on emotion and the concept of the term "Sehnsucht" which can be translated to longing and desire, a few nihilist books, I can take away from its radical skepticism, but that’s about it, some kind of morbid fascination.

When I was younger I was looking a lot into fashion, which to me is a very delicate and beautiful artistic discipline, I remember the day I stumbled across avant garde fashion, I was quite shocked but felt immediately drawn to the look of it, everything was suddenly very different, asymmetrical, discolored, experimental, and sometimes not even wearable. The contrast was great, from finely beaded pearl dresses to glass tank tops and ties made of human hair like Carol Christian Poell made them, that resonated with me. This was probably the first time imperfection touched me in the context of beauty, and it stayed that way. That greatly influenced my thinking and my concept of a visual Ideal, I was probably around 15 years old at that time.

7. When did you know you wanted to be an artist?

I don't think I've ever formulated it so directly, "artist." I've always known that I want to create things. That's very natural for me and hasn't needed much reflection so far. But I think a decisive turning point was the year 2022. At that time, I had been painting for about 8 years, maybe a little longer, but it was then that I started thinking a lot about sharing my work with the public. I think that's when the decision came.

I've always known that I want to create things. That's very natural for me and hasn't needed much reflection so far. But I think a decisive turning point was the year 2022

8. What is a day in the studio like? Describe the creation process of your works.

I usually work in absolute silence, I sometimes listen to experimental ambient music, but that’s about it. I really get involved with the process of painting, so I don’t allow any distraction.

I don't make an effort to avoid imperfections and mistakes. Wrinkles in the canvas stay where they are and I wash my brushes rather poorly. I first apply a small amount of color to the canvas and work from there. I start with a question that won’t let me go and try to answer it to my satisfaction, the pursuit of understanding is a very multifaceted journey. At that point, I don't have an audience in mind, but my process-oriented approach takes precedence, emphasizing imperfection and transience. Rarely do I prime my canvases; I want the paint to work, the oil to soak into the fabric, and the mineral spirits to leave stains. Each step of the process is carefully considered and then deliberately disrupted by me. What is too beautiful and polished gets deconstructed again.

I once learned that you should stop eating when you're almost full; that way, I finish my paintings. I still leave a glimpse into my work process; they come along looking effortless and incomplete. And if I find myself a bit annoyed while looking at them and think I could probably do better, then I know it's a good one.

I once learned that you should stop eating when you're almost full; that way, I finish my paintings.

9. In your works you use unconventional materials such as dust, oil, dirt and natural dyes. Why do you mix these different materials?

I don't always consciously choose the materials I use, yet I do. I find the unattractive and unappealing qualities interesting. I wouldn't necessarily say it's an interest in the material itself; it's more of an aesthetic inclination. I like to play with the idea of imperfection, which is perhaps my Western interpretation of the wabi-sabi philosophy. I am a perfectionist through and through, but when painting, I force myself to accept mistakes and consciously let go of what's beautiful. I highlight what may not have been planned, a painting is really good to me, when it makes me want to get upset about it, balance is important nonetheless. That's how the dirt from the floor of my studio finds its way into the paintings.

I find the unattractive and unappealing qualities interesting. I wouldn't necessarily say it's an interest in the material itself; it's more of an aesthetic inclination. I like to play with the idea of imperfection.

10. Did you experiment with other techniques besides oil on canvas? And with other artistic disciplines (sculpture, photography, etc.)?

I have been photographing for a few years, it is an interesting diversion with a beautiful parallel to the canvas. The subject of photography is just as limited as my canvas, I don't have to create anything, I take what's already there and whoever finds beauty in the unattractive things of everyday life, just has to look closely, but not search extensively; a very complimentary practice. I also plan to experiment with sculpture and more conceptual works in the future, but I still have a lot to do with painting, that can wait.

11. You state that you try to explore the intricacies of impermanence and instability in an effort to understand the complexities of the human experience through your works. Could you develop this idea? What does it mean?

Impermanence and instability are themes we all have to deal with at some point, some earlier than others, but in the end, we all do. I had to deal with strong fears at a very young age, and in my youth, I suffered from panic attacks almost daily after being part of a terrorist attack. Every time, I felt like now is the time; today I have to die, and unfortunately, even routine couldn't push away those thoughts. Eventually, I asked myself what the fear changes about the consequence, and the answer was nothing. That was a learning curve for me—a kind of optimistic nihilism with which I confronted my mental problems. The thought that my fear wouldn't save me in those moments before death changed it all for me. I further developed this thought, quite grotesquely, to perceive our ultimate consequence as our greatest freedom. But it is one truth that most of us are very dependent on the luxurious comforts of everyday life, and we often forget how transient everything is. Sometimes, that hurts so much that we fail to appreciate what we have while we still have it. One shouldn't make their happiness so dependent on tangibility, but rather see it as a reminder to enjoy it and celebrate things when they are gone. Change is good; without it, we cannot progress, and sometimes impermanence and the instability of everything in life force us to new shores. I think most of us realized that, with the Corona pandemic, who would have thought everyday life would change in a second?

12. Have you always created abstract works or have you had a period of creating figurative works?

My body of work mostly consists of abstract works, I lean into more figurative abstractions when drawing, but I tend to keep that to myself, it’s more like a practice.

13. How would you describe your style?

Intimate, raw, experimental.

14. What does art bring to your life? What do you intend to contribute to the world with your work?

It may sound cliché, but it gives me a purpose. I wouldn't know how else to occupy myself. Painting brings clarity but also continually raises new questions. It's pretty much the only activity, I completely forget what's happening around me. Painting helps me transmute feelings and take on different perspectives, which is otherwise difficult for me. In that sense, it's probably an instrument to approach my life in a completely different way and to take on a very nuanced view. I want my paintings to be accessible and for their unattractive qualities to shine in synthetic gallery light. I wish for people to see themselves reflected in my work, with their small flaws and edges, and to feel a similar sense of companionship, somehow uncomfortable and contrary to a normative ideal, yet beautiful.

I want my paintings to be accessible and for their unattractive qualities to shine in synthetic gallery light.

15. Do you regularly collaborate with other artists? If so, with whom? What projects have you developed?

I especially enjoy the discourse with other artists and creatives, it's usually very enlightening and a welcome addition to new lines of thought. Peter Maximilian Ronsdorf is a good friend with whom I also enjoy collaborating. We have a few unfinished plans for this year, making it hard to talk about, but something is in the works. Otherwise, I'm currently focusing heavily on my own body of work, which requires moments of introspection and detachment, stepping away offers a lot of clarity.

16. You will start working with Pablo Villazán and his gallery VILLAZAN. What do you have prepared for this new project?

I'm looking forward to working with Pablo Villazán and the gallery. First up is a duo show with Eline Boerma. I've prepared some works that haven't been shown yet and am very excited to debut them.

17. Could you finish this interview with a quote that inspires you?

"In order to understand the world, one has to turn away from it on occasion“. –Albert Camus.