It is a tricky area within the arts of painting in which Eric Hirdes finds himself. Both the materials as the lyrical abstract paintings have produced many products that go lost in the aesthetics and appear to be nothing more than a view eye-catching colours.
Nevertheless, these styles are favourites amongst artists, probably because the spontaneity in the painting has to be strongly connected to the unclear area of emotions and this seems to fit into the profile of an artist. The traps are all there and it requires guts to explore the possibilities of the lyrical abstract paintings over and over again, like Hirdes does for over more than 30 years. This means the artist is conscious of the possibilities and uncertainties of the aesthetics.
A painting can seduce by its colour, skin, composition or story, but above all the image must carry a secret which makes you want to look again and again. The beauty should not become boring.
In recent artworks Eric Hirdes questions himself again about aesthetics and about the methods he developed himself. He doesn’t speak another language, but he uses another system to create a painting.
By placements in his work there is a certain worldly feeling in his latest work. Vanity and eagerness are still important, only they play another part. The technical skills to go from matter to transparency contributes to the fact that the materials speaks its own language. ‘The final painting announces itself’ – according to Hirdes. Each painting seems to be a discovery through the materials.
A lot has been said about the artworks; the paintings associate with non-existing landscapes, imaginary landscapes where one would love to spend time.