"Uwe Gehrmann’s oil paintings convey a warm, serene atmosphere. His shapes and colour harmonies come not by chance, but, as is found with the studied Ethnologist, his subjects and motifs are often found in the animist religions. "The Schamane", for example, or the "Mondgetier" appear almost puppet-like and remind the viewer of fabled beasts or cave paintings. His figures develop out of buoyant lines, like the "Snow Owl", formed from sloping lines, not abstractly, but also not exact. Here, rather obscurely poetic, he plays out animal against human. The magic that comes from Gehrmann’s pictures is based on the particular originality and sensual experience of the viewers and reaches back to the ancient etchings of our early conceptual world."

Kirsten Graulich, December 2000 | » top

Vogel-Fisch-Mond 70 x 50 cm

"Above all, the clear alignment on the graphic distinguishes his (Gehrmann’s) pictures. The lines sharply embrace the forms, thereby the figure itself emerges from the combination of colours without losing the reference to the entire picture. Although the glittering vocabulary of the language of the shapes is clear and distinct, the handling of the colour does show some weakness; but always, when Gehrmann himself decides to place the colour completely at the service of the drawing, he achieves a convincing result."

Alescha Birkenholz, 18 August 2001 | » top

Über den Gipfeln 40 x 60 cm

"At first sight, Uwe Gehrmann’s pictures appear almost androgynous. Only in the second viewing is the entirely particular sensuality of his creatures forced upon oneself. Inspired as he is by ethnology, particularly from the cave paintings, from the animist religions and their rituals, explains Gehrmann. He reaches back to the origins, to the ancient etchings of our early conceptual world. Prehistoric motifs, mixed with irony and humour, allow his works to appear at times very human, at others animalistic."

Tanja Borberg, 20 August 2001 | » top

Großes Solo Öl, 59 x 40 cm

"It’s with Gehrmann above all else, to give the viewer the opportunity to cast a glimpse into their own soul, though each can, nonetheless, "discover in the pictures what he will", says Gehrmann. In his pictures for example, the processes of the artist include elements from the Zen Buddhists, present mythological and archaic symbolism, and blend personal experience. Even though the techniques are manifold, Gerhmann expends, "My pictures should not be boring, therefore I use as many techniques and motifs as possible", changing particularly between glaze and high quality painting."

Eva Haunhorst, 8 September 1999 | » top

Das Gerücht 50 x 70 cm

"And in comparison stands the picture world of Uwe Gehrmann. Shapes, continually reducing humans to lesser basic shapes; not as individuals, rather types. People, standing together, mouthing-off. The "Juggler", in harmony with itself and its world, at the same time symbolic of the harmony of the world. His pictures mythologically-religiously tinged with the high priest as focal point or the meeting of followers with the young Christ. In these mental excursions one must not necessarily follow Gehrmann, but the inspiration is immense. In contrast to that, the nature of his composition: constructive, almost in the following of Cubism. Changing roles: Uwe Gehrmann the draughtsman; not with pencil or charcoal, but with the brush; sometimes the expression moves and withdraws behind the content, dominating the picture image, and the composition. The colour tones cover the colours of the earth. Gehrmann cannot evade his beginnings as a caricaturist. Why should he, when this symbiosis of drawing and painting makes a distinct style all his own."

Dierk Hartleb, 29 July 2000 | » top

Der Pferdewächter 100 x 100 cm

"With his paintings, Uwe Gehrmann goes down a path all his very own. Extending from his studies in Ethnology, he is inspired by the earliest paintings of mankind, which by no means are poor copies of the well-known cave paintings. No, Uwe Gehrmann has found a language all his own which is evident too in his caricatures. But when this experiment-loving artist himself surrenders different subjects and shape arrangements, then, they live particularly from the colour arrangements. It is difficult to compare the different creative periods with each other. There is, for example, a recently created series of portraits of well-known people which live on a fascinating composition of colours and in which Gehrmann has been able to reflect character over the faces. Nevertheless, the figure representations are the strength of the artist, which even from a distance one is able to immediately identify as a work of Gehrmann. Though the artist’s figures are very simple in form, Gehrmann is able to express problematic human situations through these figures."

June 2001 | » top

Auf dem Weg 70 x 120 cm

"The living is always the focal point of Gehrmann’s work: as well as animals, also humans, both connected together referring to the origin of being. Careful abstractions try to intricately discover the new in the old; again stirring up the forgotten. His works are particularly figurative. Uwe Gehrmann attaches importance to the colours and their harmonies. Although the forms of the figures are very simple, through a fascinating composition of colours the artist is able to reflect character over the faces. In his work he wants to express problematic human situations which have for him a personal symbolism."

25 June 2001 | » top

Rabenmutter 52 x 35 cm

Not romantically but abundant in strength. Uwe Gehrmann’s motives are objectively abstract. The tones of his personalised symbolism are not cheerful, but serene; their essence, almost bird, human or horse depictions are inspired by animist religions, cave paintings and expressionism. Kirsten Graulich, critic of his exhibition "Window with a view" wrote of his oil paintings: "Here, rather obscurely poetic, he plays out animal against human. The magic that comes from Gehrmann’s pictures is based on the particular originality and sensual experience of the viewer and reaches back to the ancient etchings of our early conceptual world." What connects Gehrmann’s representative symbolism with Eppensteiners manifested "Minnesang". "The awareness of an unbridgeable gulf; and the awareness of the particular quality of this gulf. And the joy of knowing that each of our pictures once will hang in place, and hang there they must", pronounced Christian Eppensteiner.

August 2001 | » top

English translations provided by J.P.Colby Translations · Sydney Australia · 2002