Thomas Graics has found out his essential subject is the air photograph. As owner of a flying-license and an old Cessna he has optimally confidence in a view from above. Mostly he takes his patterns from own photos.

The artist beheld the landscape relatively objective, he directs his attention to industrial plants with its grey values, fields and other further composed panoramas. The hazy lights stimulates him and so he catches its realistic colours with grey, green, sienna and earth tones.

Thomas Graics takes his patterns very serious, he brings himself near to the realistic painting, but in different grates he flows in a “Sfumato”. The “Sfumato”takes the sharpness of strict forms and it is in contrast to the strictness of realism. Partly Graics works in coatings with a tempera undercoating. This work develops quickly, but it sometimes let the undercoat gleam.

Thomas Graics concentrates on his theme, he dispenses with a radical moulding of realism.

He pulls the essential out and lets the eye glide over the things at the edge seemingly quick. So he plays with a subjective perception. Colour differences in the green tones point at the enhancements and deepenings, its light and shade giving could only be perceived from an enhanced location. A nebulous appeared patina lies over the trilogy “Spuren”with excerpts from Rheinbraun. But not the open pit is in the centre. Substantially is the colouring, reduced to umber till black, ochre, sienna and its nuances with white. So the impression of “coloured grey tones”is created, which transports also a bit melancholy under the smoke haze.

In Graics’s works the influence of the artist Gerhard Richter is shown, who orientates himself on photographic patterns, cultivates a fondness for a slight inexactness and reanimates the traditional painting.

Graics orientates himself on concrete themes and on the objective art. But still at factual themes like industrial plants it only approximates on realism and converts moods in colour application and colouring.

He catches moods with haze, as he knows them as a pilot and wants to convey it in its fascination. At the same time he extends the view possibilities, because he takes the contained lines and moulds its sharpness and appeals to a closer look.

Due to my residences in Iceland Aug. 2004, June and Sept. 2005 and Aug./Sept 2006, I concern myself in my current works with the topic Iceland. The air photograph is also located in the centre.

Besides the interest applies the Iceland’s landscape, mountainside with snowfields or vulcanos, behold in changing lights.

Here the method is oil on canvas with a tempera-undercoating.

On flying my great interest applies to the natural and man-made changings in the soil type consistently.

For instance the Iceland’s landscape created by stream courses or Germany’s “Rheinbraun’s”open pit areas at the Niederrhein.

For me a part of these photos is so perfect, with it I mean it pictorial, that these remain preserve as independent works, e.g. “Colour & Traces of Iceland”.

These works are performed in Agfachrome on Aludibond as Triptychon (30 x 30).

On flying new unique perspectives always arise constantly.

Iceland does not make itself accessible on the first view. A lot of attempts are necessary, to realise the facet wealth even approximately.

Over and over again it is a new surprise how the landscape’s ability to transform and saisonal changeablity shows itself.

To bring the execution with colours and moulds closer to the viewer, the new photos on duraclear will be developed as a filmstrip and behind plexiglass presented.

Spacer make an “available backlight”by a white background possible.

But here active illumination by means of wall emitter or gleaming unit is also possible.

The daylight changes and so the display too.

Depending on the filmstrip’s out exposure and by the change of the light caused by the day, the viewer’s impression is arranged for a certain spatiality, so that the presentment of the Iceland’s landscape appears unrealistic and fictitious.

It shows the uniqueness and also the violability of the Iceland’s landscape.