“It is clear that the artist is a supporter of paintings created in a progressive, calculated, cherished, loving way. It is about paintings with an outline that is often clean, which at the touch of the brush disappear before the subject. This subtility is not included anymore, while in cooking it is a “must”: when a dish is well prepared, no one ingredient should dominate, in a particularly subtle dish the taste of each ingredient must retreat to create a new taste that is more than the result of the sum of all the tastes.
The world of painting has become like a world without spices: when we find one, we advertise it above. And to marvel before visible strokes of the brush, before the “virtuosity” and the lack of techniques, as much foreseeable as displayed that it is poor . . . .
In this way the expressionist painting often takes the appearance of an indigestible stew with too much garlic. For Eric Itschert, painting is like working in alchemy, it is like making love. But here it is also difficult to escape from clichés. How many painters do not complain about alchemy when they do not know the chemistry of their own painting? Time takes revenge on he, who neglects it and that’s why the artist is known as a slow producer.
We live in a world of recognisable and visible forms, and it is for that reason that the painter uses figures to communicate. Myth is a fiction that expresses certain truths that can not be expressed otherwise and for that reason the painter draws from the classics. A painting should be alive, which is why the painter likes to represent the human being. In short; the desire and the imaginary stride together, but that too is difficult to understand in a sterile and masterminded world of art where the keys of the imaginary have often been lost.”