Gerhard Hoehme was drawn to space, both in life and in his artistic work. A place on earth was not enough for him - early on he became enthusiastic about flying, often spending more time in the air than on the ground - just as the canvas alone was not enough for him. He found it constricting and limiting his expression. His perspective while flying is reflected in many of his paintings, but it is only one aspect of his painting. The artist's main focus is on color. It is the all-determining element of his painting, its feel, its flow, its movement in space. With the bark paintings, in which he assembles scraped-off paint masses into relief-like structures, he comes closer to his desire for more spatiality, but it is not until the 1960s that he achieves a breakthrough into space by integrating nylon cords or wood. [ED]
1920   born in Bitterfeld
1939 - 1945   military service as a fighter pilot
1947   resides in Halle/Saale and studies briefly with the typographer Herbert Post; strong impressions through the paintings of Paul Klee and Lyonel Feininger
1948   marriage with Margarete Schulze, one son
1952   moves to Düsseldorf; friendship with Jean-Pierre Wilhelm; first stay in Paris, there contact with the artists Jean Fautrier and Jean Dubuffet; studies at the Düsseldorf Art Academy with Otto Coester (professor of free graphic art)
1953 - 1957   Chairman of 'Gruppe 53' (other members: Peter Brüning, Winfred Gaul, Horst Egon Kalinowski, Rolf Sackenheim, Friedrich Wertmann)
1957   participates in the foundation of Jean-Pierre Wilhelm's 'Galerie 22' in Düsseldorf
1957 - 1958   participation in the exhibition 'coleur vivante - living color' in Wiesbaden and 'A new direction in painting' in the Städtische Kunsthalle Mannheim
1959   participation in the II documenta in Kassel
1960   Villa Massimo Prize in Rome
1960 - 1984   teacher at the State Academy of Art in Düsseldorf, from 1965 professor of free painting
1962   publication in 'Signposts in the Unknown - Nineteen German Painters on Questions of Contemporary Art'.
1964   refusal to participate in documenta III; manifesto 'The Art Policy of the Federal Republic - a Misery'; discovery of the pattern sheets.
since 1965   Colored nylon cords reaching into the room
1968   manifesto about 'relations'
1974   relocation to a farmhouse in Neuss-Selikum