Helmut Dorner or the remarkable slowness of the gesture of an understanding in general (Denys Zacharopoulos), A painting of modifications (Ulrich Loock) Painting backwards (Alain Cueff), Towards a spectral painting (Jean-Charles Vergne), the titles of some of published essays on the work of Helmut Dorner indicate that his painting does not lend itself to a traditional and determined classification.
The multiple trends within his painting are articulated by the range of different materials and processes. The fragmentation of his art, visualized by the variety of the structuring of the surfaces, places it in a lonely position.
Dorner’s painting is not figurative, but neither is it abstract. He has experienced links with landscapes and climates, as if he were trying to save a painting, once landscapes by reducing it to pure light and color.
The oil and lacquer that Dorner uses articulate each of the different possibilities and dimensions of experience. While the oils emit an extreme touch and materiality, the paintings made in lacquer are directed fundamentally to the intellectual sensibility.
Dorner frequently combines works of these two different techniques, forming diptychs and triptychs according to the location of the space and the complementarity of the pieces, but in the studio, each work is developed independently.
Dorner became known in Spain in the already legendary exhibition La Razón Reviseda, at the La Caixa Foundation in 1988, In 1996 she participated in New Abstractions of the Reina Sofía National Art Center Museum at the Palacio de Velázquez
At the Heinrich Erhardt Gallery, Dorner has already had two individual exhibitions, in 2000 and 2005. In this third exhibition, en-entremedias.fugaz, paintings from 2007 are exhibited, in groups of lacquer on methacrylate and oil on canvas and wood.