Klaus Grape was born in Munich on 27 June 1961. Expelled from his grammar school over a painting, he attended Munich Design School and subsequently studied architecture, graduating as an interior designer in 1984.
Some years of travel around the world followed: In Africa Klaus worked on store an exhibition design projects and held two exhibitions in the National Art Museum and the Natalie Knight Gallery in South Africa, displaying a cross-section of his early artistic works. It is unsurprising that he won an art competition to commemorate the 100th year of Johannesburg’s foundation.
Back in Munich/Germany he set up a small architect’s office but dedicated his creativity and heart to art. In this time he completed several projects with Wolfgang Flatz.
Klaus Grape has been a professional artist since 2000. Exhibitions of his work have been held in New York City Galleries, London, Greater Munich, Baden-Baden, Bremen, Düsseldorf and Berlin. His art work is displayed in many private residences throughout Europe, South Africa, USA and Canada including several public collections including the collection at the headquarters of the Bavarian Broadcasting Association.
Klaus is currently working on two series, “cosmos and empathy” and “mystery time” which are inspired by the interactions between cosmos, nature and time.
Klaus lives and works in Munich/Bavaria
In my pictures there are not rules. Nature and its illusion are portrayed as inviolate worlds with no indication of whether my images reflect the state of creation before the arrival of man, or a world after man’s departure. Barren and empty and chaotic, and yet (or therefore? inconceivably beautiful and keen.
Despite their abstraction, the viewer is enticed into surmising and discovering concrete forms in my dreamscapes. I portray imaginary landscapes which awaken associations of cold or heat or imply geographic contours without any hope of actual recognition: an invitation of a journey into an unknown cosmos, non-existent in this form.
My large-format pictures (created by pigments of pure colour, gravel, sand, glass beads and Swarovski crystals) may remind you of pages from a satellite atlas shown with photographic precision tossing seas, oceanic depths and shoals, delta-like coastlines, the imaginary folds of mountain chains, or perhaps a texture like sea-foam where snowflakes appear to have crystallized out of the water; industrial landscapes are hinted at, with smoking chimneys darkening in isolation in wan sunlight: only the clouds overhead warn of an explosive energy in check. And again the question is raised of where, in these yawning spaces, the last members of the human race may be found. Other pictures display honeycombed structures reminiscent of technical and biological blueprints.
My visual world has not been chosen by random but is characterized by Joseph Beuys’ philosophy - which does not want to depict but empathize.
For example, the filigree and the fragility of the Blue Planet, which - as viewed and observed from space by me – travelling majestically around the orbit: infinitely beautiful and infinitely endangered.