Reflections, Summary and About the Artist
Didier Strauss
United Nations, Geneva Innovative Fair 2007
A drop of water is not an ocean,
yet an ocean is made up of drops of water.
As far as help and development are concerned, no one can remain inactive once he/she feels involved.
The projects may be ambitious or modest, the determining factor is the result, the sum of the actions
The more diversified the means, the more complementary and better the outcome.
A smile, a dispensary, a handshake, a school, vaccines, a gift, ..... coloured spots
We have all been called to take part .... a doctor, a carpenter, a teacher .... a painter
Work is involvement
Objective 1
Break the spiral of starvation and misery
Objective 2
Access to learning to live
Objective 3
Enrich each other through complementarity
Objective 4
Refuse infant mortality as inevitable
Objective 5
Respect life’s crucible
Objective 6
Overcome viruses and diseases, growth of life
Objective 7
Cell division, beginning of life, protect the environment for life to continue
Objective 8
Unite our efforts to build a world partnership
A painter
Didier Strauss lives and works in  Switzerland where he was born. He expresses himself through drawing and colour, using techniques such as acrylic, water colour and engraving.
Contact :    Didier Strauss, Verpillière 19, 2113 Boveresse
The main line :
Figurative, non abstract painting    (......until 1975)
Before being a draughtsman, a colourist, a painter is above all an eye with a view on his environment and his fellow creatures. A painter’s eye sees lines, colours, and shades that make up a landscape, a face, or characterize a still life. He must be able to discover and isolate details, lines, and elements that incite  interest  and give character and  balance to a painting.
A painter’s eye is an interface, a door between the exterior and the interior worlds.
Painting the world that surrounds us causes a feeling of security, as much for the painter as for the spectator. Despite the artist’s particular  interpretation of a landscape, the spectator recognizes a familiar element in the painting, reassuring  him in his perception of his environment. The picture corresponds to his reference to life, there is equilibrium between interior life and exterior reality.
       so many exterior landscapes
After painting the tangible reality of the world surrounding us, I wanted to get nearer to my subjects, to take them to the doorstep, with the risk of losing the observer’s objectivity, of representing reality and detail.
Abstraction        (1975  ...... )
       so many interiors landscapes
Our eye is adapted to discovering the outside world, but man is incapable to observe the subterranean world of his existence.
How is it possible to descend into the subconscious, to apprehend it, to get near to it in order to  observe and to represent it in painting?
Speleology of the emotions, sensitivity and  archetypes.
Nowadays I work at depths where it is no longer possible to reproduce the realistic world but an immaterial, sensitive reality, made up of the sum of my life experience. To do this, I must dive into the magma of the subconscious, work it, fight with it  in order to extract pieces and elements that will submit to being used as the first concept  of a painting.
Fishing in the dark, adventure, discovery, surprises.
Thus, each painting becomes a journey, a destination, a terrain  to discover.
Outlining the concept of  a painting takes up enormous energy. The first step is to make the discovery emerge on the canvas,  then to tame and organise it .  As the work advances, my interventions must become lighter and lighter, transparent, remain on the surface. Slowly, very slowly, the painting takes its place, ripens, manifests and imposes itself  so my presence becomes superfluous. The painting doesn’t need me anymore, the link has been cut, it  will now  live a life of its own.
I hope my paintings will attract  somebody‘s eye and reach through his vision  right down to the lake of his  emotions.  If the person doesn’t recognize himself in it, the exchange will stop there and  then. However, should there be  an interrogation, a show of  interest, a recognition by the spectator,  then there will be questions, reflection,  an exchange between the tangible painting, outside the person, and  the images of his interior world.
A painting that moves us is an invitation to get to know oneself.

Didier Strauss                                          




Express biography

Born in 1954 in Switzerland where he works and paints.

Self-taught artist who has drawn and painted since his childhood.

« Bourse de Bruxelles Pierre-Eugène Bouvier, 1999 »
award winner : 3 months stay in Brussels

Technique : acrylic,  engraving, watercolors

Key words : line drawing, color, transparency

Guiding thread : harmony