Atelier + Feelart + Studio

About the Artist Alexander Snehotta von Kimratshofen

• 1969: born in Munich, Germany

   

• Since 1978: basic principles of script- and sign painting, learned from father. Developed an interest in history, particularly ancient and medieval history.

   

• 1984/1985: relocation to Altusried near Kempten, Allgäu Region, Bavaria, Germany

   

• Since 1986: intensive engagement with all aspects of heraldry

   

• 1989: graduation from Fachoberschule (FOS) – Technical Secondary School

   

• 1989-92: service in the German Armed Forces (Bundeswehr), Artillery Division

   

• 1992-95: study at the Bavarian College of Public Administration, Degree in Policing, rank: Diplomverwaltungswirt

   

• 1995-98: service as a police officer in Kempten, Bavaria, Germany

   

• 1998: transfer to Munich

   

• 1990-current: variety of travels to expand artistic, cultural and educational horizons both within Germany and internationally (especially in the Mediterranean and Scandinavian regions)

   

• 1999-2006: enrolment in various art courses in and around Munich, nationally and abroad. Audited classes at institutions of higher education throughout this period.

   

• Since 2005: intensive involvement in various art exhibitions, projects and events

   

• 2008: founding member of the Farbchimären artists’ consortium and the Kunstrefugium e.V. artists’ association

   

 

Interview (Art & Culture, Jan. 2007)

 

How did you become involved in art?

 

Art runs in my blood. Nonverbal communication as a form of expression is second nature to me, having grown up in a family that, from an early age, encouraged artistic expression and pursuits. As such, I’ve been working with a variety of artistic media since childhood.

 

 

What inspires you? And how do come up with the subjects/themes represented in your work?

 

When you approach the world and live your life with open eyes, inspiration naturally follows! Something as simple as a look in someone’s eyes or a gesture can spark an idea which in turn “screams” when it is expressed through art, whether it be music, sculpture, poetry or prose.

 

 

Where do you create your art?

 

My small apartment doubles as my studio.  My life and my art form an inseparable entity, so much so that I could not imagine creating art in a separate, designated space. On the other hand, when the day calls for it, I like to take my sketchbook along with me as I wander through the city…

 

 

Where did you acquire and develop your technique?

 

I learned the principles of script- and sign painting according to traditional artisanal methods taught to me by my father, as well as being educated in the use of carving tools by my grandfather. My decades-long fascination with heraldry evolved from an early interest in ancient and medieval history.  Over the years, I’ve quenched my continued thirst for knowledge in the field of heraldry by attending a variety of workshops and courses both nationally and abroad. I have also benefitted from training given me by friends of the family and people I have come to know as friends; via these avenues I’ve been able to gain valuable insight and further develop both my technical and artistic techniques.

 

 

What do you consider to have been the most important feedback – written or verbal – about your work thus far?

 

1. “What inspired you to paint this? I’ve stared at this thing for two hours, and finally had to force myself to look away!”

 

2. “I can’t put it to words, but you’ve captured something here which evokes something all at once tantalising yet elusive.”

 

3. “I nearly cried. I can’t explain why, but this is how I felt. Thank you.”

 

 

In a few sentences: what inspires you to create art?

 

1. I create art to please myself!

 

2. I create art to please others!

 

3. I create art because it exists in the world, and to reveal something behind the façade of that masquerade of human vanity!

 

 

Which techniques do you prefer and why?

 

I’m always open to new techniques, and enjoy the process of acquainting myself with these.  I like to experiment, and often – thereby not being limited to what is familiar and comfortable but, on the other hand, not to the point of submitting to the pressure to constantly be on the cutting edge of new technique. The key is to seek out what’s new and innovative but at the same time preserve what’s established and proven. It’s not about technique, per se, but rather the end result – what’s been forged from it – and what you take from it along the way.

 

 

How long does it generally take for you to complete a piece?

 

That’s a very difficult question to answer! On average? Even that’s difficult to gauge. I’d say it can take anywhere from hours to years. I can complete a piece in an afternoon when the mood strikes and I’m immersed fully in an idea; on the other hand, there are pieces I’ve begun years ago but still don’t consider to be completed. Such is the burden of a perfectionist!

 

 

Are there people who have been influenced by your work?

 

To some degree, any artist influences those beholding his art, whether it be consciously or not. I don’t want to stand on a pedestal and say, “Oh yes, of course my work has a great influence!” Those people who’ve been affected by my work know who they are, and that knowledge is enough for me. And those few words of acknowledgement we all crave from time to time provide me with the necessary feedback for my work.

 

 

Any final thoughts?

 

For the past two decades, I’ve dedicated myself to the art of heraldry and the creation of coat of arms. Despite the rather rigid rules and standards associated with this field, which some people might find confining, I find it to be a comprehensive and dynamic field that combines art, in its broadest sense, with the more traditional forms of artisanship. I founded the Heraldic Workshop as a response to the widespread examples of poor work being done out there,  assuring a person commissioning his or her own personal coat of arms that these will be authentic and drafted in adherence to the traditional principles and rules governing the practice of heraldry.

 

In addition to my heraldic work, I mainly produce abstract paintings and smaller-sized sculptures. I firmly believe that art should fit into smaller spaces!

 

My interests lie in nearly all forms of art, so that I consider painting to be only a part of who I am, and cannot and do not wish to devote my entire energy to this form.