1950 born in Leipzig
Studies at the HdK Berlin, master student with Prof. Klaus Fußmann
lives and works in Berlin and Wehningen/Elbe
… This painting can also be described in terms used in music. Here you can hear a pianissimo, there a polyphonic choir, sounding like it arose in a Tutti, from the entire orchestra.
It may seem strange to use these words to describe the paintings from Ilja Heinig, but language recedes into the background on approaching Ilja Heinig’s work. Although it is usual that art is talked about, the talk has increased dramatically until the talking about art has replaced the art itself.
Ilja Heinig has found a way against this. It is his deep trust in his own art and artistic ability that the viewer sees in the continuity of the stringently developed work. Where experts talk with experts about art for experts, Ilja Heinig concentrates on the artistic act itself, asserting it while formulating a kind of resistance; focusing on the relationships between people, material and colour. Where other artists pay tribute to digital change, he looks to the materiality that takes a stand against the fury of the disappearing world. Here there can be no assimilation of our everyday perception into the reception of art; it is more likely to say that this painting demands an assimilation about our daily perception, so that Ilja Heinig’s work is doubly a dissident painting: because no progress is so good that it doesn’t deserve the resistance that it evokes.
Thomas Wulffen, 2006