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Paul Dmoch was born in 1958 and passed away in 2016.
As a child he remembered being obsessed with light. On sleepless nights in his room he would watch the movement of car lights reflecting from the wall to the ceiling and back. Years later, he was astonished when he saw Rembrand's use of light for the first time. At the time, he also believed in fairytales, in the magical worlds he had heard about and loved to visualise them in his mind. He later went on to understood that all those worlds he created in his mind simply did not exis and was very disappointed.
When he was 12, one of his teachers helped him to discover his passion for architecture. While studying architecture, he realised that he had found what he had been looking for. As an architect, he thought he would be able to create a fantastic world with structure, where light could play on forms. Unfortunately, he soon discovered that there were many problems that had nothing to do with architecture, problems related to law, money, foolishness of investors, and so on. He became disillusioned with his career.
He had never thought of becoming an artist, but soon realised that painting would offer him the same opportunities to create his own world of light and to share his love to architecture.
Painting interiors was his greatest challenge. It was his chance to share with the entire world the 'genius locci' of the places created by human genius. He was not interested in natural subjects, those not made by human ''hands''. That's why he paint interiors, because there he could find man's glorious mind.
He especially liked to paint cathedrals. He could feel all the mystery of ''another space'', where we sometimes come, but not spend our lifetime. Inside these structures we feel small and not so important as we sometime think we are. We can see that incredible, enormous structure, filled with endless lights pouring through a stained-glass window. Ecclesiastical interiors give us a chance to contemplate our deepest thoughts. There we think no mundane thoughts - we leave them outside. There is a real border between the ''sacred'' and ''profane''. The harmony of light and darkness, showing all the beauty of details and space, make us calm and deeply happy.
For him, light and shadow was a metaphor for the everlasting battle between these two basic elements of human existence. In the contrast between light and darkness lies the secret of every human beginning.
As a child he remembered being obsessed with light. On sleepless nights in his room he would watch the movement of car lights reflecting from the wall to the ceiling and back. Years later, he was astonished when he saw Rembrand's use of light for the first time. At the time, he also believed in fairytales, in the magical worlds he had heard about and loved to visualise them in his mind. He later went on to understood that all those worlds he created in his mind simply did not exis and was very disappointed.
When he was 12, one of his teachers helped him to discover his passion for architecture. While studying architecture, he realised that he had found what he had been looking for. As an architect, he thought he would be able to create a fantastic world with structure, where light could play on forms. Unfortunately, he soon discovered that there were many problems that had nothing to do with architecture, problems related to law, money, foolishness of investors, and so on. He became disillusioned with his career.
He had never thought of becoming an artist, but soon realised that painting would offer him the same opportunities to create his own world of light and to share his love to architecture.
Painting interiors was his greatest challenge. It was his chance to share with the entire world the 'genius locci' of the places created by human genius. He was not interested in natural subjects, those not made by human ''hands''. That's why he paint interiors, because there he could find man's glorious mind.
He especially liked to paint cathedrals. He could feel all the mystery of ''another space'', where we sometimes come, but not spend our lifetime. Inside these structures we feel small and not so important as we sometime think we are. We can see that incredible, enormous structure, filled with endless lights pouring through a stained-glass window. Ecclesiastical interiors give us a chance to contemplate our deepest thoughts. There we think no mundane thoughts - we leave them outside. There is a real border between the ''sacred'' and ''profane''. The harmony of light and darkness, showing all the beauty of details and space, make us calm and deeply happy.
For him, light and shadow was a metaphor for the everlasting battle between these two basic elements of human existence. In the contrast between light and darkness lies the secret of every human beginning.
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