Richard Rendl

1946 Born in Vienna

1950 Moves to Tyrol

Attended school in Kirchberg/Tyrol, Vienna, Kufstein, Lienz, Salzburg,

Professional activities in Zurich and Hamburg

Began studies at the University of Applied Arts in Vienna in 1966 specializing in painting. From 1966 to 1968, my painting style developed between expressive and symbolic abstraction. In 1968, my studies were interrupted and I performed freelance artistic work in the Vienna studio.

I left the "analog" symbolic language of abstract painting whose diffused content expression was not enough for me to lay the initial steps of a new image with meaningful language in digitization and rhythm of the scene. The series of numbers with symbolic connotation and colour systematization are the building blocks of the style group "monads - holons" [Monads are simple substances which combine to create complexity; Entelechy, human form - soul aspect].

As of 1969, with the monads image of "analogy of being", 14 large-sized (2,40m x 3m) monad images arose towards a unit rhythm, largely in the spectrum of white and shades of gray (see Monads - Transformation 1 to 3).

By the end of 1970, I experienced a transpersonal breakthrough, ascension of kundalini energies and the foundation of a completely new art: cosmogrammes, mandalas, mandorlas, codes, reincarnation symbolism in waves and line structures, symmetric principles, reversals (12 cosmogrammes of 3,25m 2,55m) subsequent respectively parallel the  psychograms.

In 1974, I reentered into the University of Applied Arts and earned a diploma in 1977.

This is my visionary experience of parabolic symbolism as procreation: a particle of light enters the parabola and, when it reaches the apex, it exponentiates itself endlessly as white light along the parabola rays. The quantum cosmology, for example, and the loops quantum gravity, as well, have been used since recently in the presentation of the gravitational collapse of a universe and the "Big Bounce" (big rebound) in a new universe recurring in itself. 1977 began with the series "The Matrix" where I have materialized and systematized my intuitions and extended the monads into line modules.

In 1979, I studied the Jewish world of symbols, and took a few semesters of Hebrew / Jewish Studies at the University of Vienna as well as studies of Kabbalah (Weinreb, A.Safran, Scholem etc.)

At the dawn of 1985, letters and language elements in Hebrew, Arabic, Sanskrit and German became carriers of meaning in the pictures.

Between 1986 and 1991, the "reconciliation images" emerge to include the Name of God and the symbols or codes of world religions, such as female and male personal pronouns in spatial metaphors combined in a unified spatial field as networks of relationships.

From 1992, I had an increased attention to cosmological processes in which resonance phenomena, e.g. parabolic cosmology were examined and discussed in the images of "Pulse synchronous Matrix", "The circles of light" and the primordial matrix in the image of the same name or in the "Ur Matrix".

My last two pictures until 2015 are:

Primordial Matrix 2, which is before the micro- macrocosmic matrix field and the associated parables represent a collapsing and again expanding universe.

Zero Point Field - criteria of Genesis, which is from the background field of infinite potentiality, the Zero Point Field or Psi field or the sea of all opportunities, spatio-temporal forms emerge in numerical progression, reversal and regression, variables and their symmetry breaks and overarching levels as a systemic copula. The picture has formulaic character.

These contents were not a priori given to the creative process but grew out of simple elements. These last two pictures are not visible on the homepage.

A quote from an earlier work description continues to have validity today:

“In the process of my artistic efforts, it has been my life's calling to chisel out, to develop a holistic concept of human beings and nature - the basic rhythm of humanity - to recoup the elusive abstractions of "objective" science for the sensual experiences of our "vivid" human realm - not the isolated individual of our western world has been my aim, but the quasi - ornamental figure woven into one whole, giving "the appearance of having been saved."

In order to make the plausibility structure of my artistic work understood in its entirety, an appropriate exhibition space is required. Unfortunately, I was never provided with one such.

Richard Rendl
Vienna, June 2015

Should you have any question or want more information, please contact me any time.