Hans-Heinrich Dittrich - graduate psychologist, Gestalt therapist and freelance artist - deals intensively in his work with the principles of Gestalt psychology, which focus on the mechanisms of visual perception. The interaction of individual elements to form a whole, the interaction of individual forms and the dynamic interaction of figure, background and context are important aspects that shape his work. The laws of Gestalt theory can be clearly understood in his work. One example is the law of proximity, which states that visual elements in spatial proximity are perceived as belonging together.
Of particular importance for Hans-Heinrich Dittrich's art is the dynamic figure/background interplay, which plays a role both in the painting process and in the viewing of a work of art and is particularly evident in his abstract works. Viewed from a changing perspective, different figures can emerge from the background and then disappear back into the background to make way for a new figure. These principles can also be applied to emotional processes. The currently important need comes to the foreground, all other needs into the background. The effect of art can be influenced by the current state of mind and emotions and in turn evoke emotional states such as joy or irritation.
Hans-Heinrich Dittrich emphasizes that the whole is not only more, but essentially different from the sum of its parts. The effect of details in a composition and gaps in a shape are also important. Intensive study of these can dynamically change and reshape the overall impression. The perception and interpretation of Hans-Heinrich Dittrich's works are significantly influenced by the viewer's visual experiences and associations and may differ from the artist's view. His pictures are intended to raise questions and to link to associations and subjective experiences and memories.
The interactions between forms and background create messages that are not easy to decipher. Hans Heinrich Dittrich describes the process of creation and creation as a kind of trance, a window to an inner world in which conscious cognitive control plays no decisive role. His works show traces of his early involvement with nude drawing and calligraphy, but also the influence of CG Jung's theory of archetypes, images of the soul and symbols that are similarly found in the collective unconscious in all cultures. The intuitive work process preferred by the artist, in which the result of one step inspires the next, is accompanied by the elimination of rational control and the emergence of preconscious images. This also includes apparently contradictory elements, reflections and distortions, which not least reflect cultural influences that can be traced back to his travels in Asia. Starting with sketches, his artistic work develops into a diverse, expressive work that includes drawings, collages and objects.
The work process described by Hans-Heinrich Dittrich is similar to that of Georg Baselitz, who describes the process of painting as a kind of standing beside oneself, the end result of which can be a surprise even for the artist. Experiments with materials, their special feel and the nature of the background stimulate the creative process. References to calligraphic symbols and the art of informel can often be found in Hans-Heinrich Dittrich's profound works. They are symbols that challenge the viewer to decode and engage intensively. The titles, which at first glance seem contradictory - such as close your eyes and see - contribute to this.
Hans-Heinrich Dittrich's conceptual works contain powerful compositions with reduced imagery. Figures emerge from the background and then retreat again; gestures emerge between the figures and between the figures and the background, leaving their traces in the perceived overall impression. The term GESTALT thus also takes on the meaning GEST AL T, gestural alternative traces , traces/signs that appear to point in a certain direction, but can contain a variety of alternative, ambivalent and apparently contradictory messages. The compositions of the works are accompanied by an exceptionally high degree of freedom and possibilities for interpretation.
Hans-Heinrich Dittrich sees himself as a mediator between inner and outer worlds, the worlds of dreams, inner images and emotions, which are transferred to the work and reflected in the viewer's perception. The balance between complexity and order, of the known and the unknown, shapes the effect of his work. The viewer's gaze should wander back and forth in the picture and explore not only the holistically perceived shape, but also details and gaps. The work should be a puzzle and stimulate the imagination; it requires openness and the ability to engage with the unfamiliar. The relationship between the work and the viewer is an empathy-associated process. The immediate intuitive effect is followed by cognitively controlled processing and the connection with very personal experiences. In Hans-Heinrich Dittrich's art, the viewer discovers familiar visual patterns, stored representations of the visual world and connects them with his personal associations, which makes his viewing experience unique.
Prof. Dr. Irene Daum, Düsseldorf
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