As a painter and sculptor Blonay Fuchs is a gardener. His stones and woods, which he works over with his chisel and hammer, appear to be growing in his garden, in the teeming area of Fichtenburg, an urban setting of paradisiac bewitchment. Among this proliferating nature, Blonay Fuchs is again in Kinderland: the garden of paradise as source of inspiration. In it, the lust for living feeds on billowing leaf shapes, voluptuos buds, thronging bloomage. From out of this fertile soil ascend life and art ever anew, united in brotherly arms, and they imprint themselves in his stones and woods, as primordial forms of procreation, of genesis, of the battle of the sexes – as a struggle for unity. The swelling shapes of growth in nature emboss, on paper and canvas, the erotic formation of the female figure as vessel of desire, as sonorous instrument of allurement. The sand-subdued oil colours, applied to coarse canvasses, augur no consummation, but instead indicate germination, buds, blossoming.

’Whoever has beheld beauty with his eyes, / Is already dedicated to death‘

– in his Tristan poem, August von Platen measures the fine line of the art effect. (Blonay Fuchs‘ paintings keep on becoming, even after they are complete). The oil colours streak the canvas, fleetingly, not wanting to settle, to cement theme and form. As painter, drawer and sculptor he really is a gardener, as he revives the image-powers of nature in his pictorial world. Going about his journeys, he gathers them in sketches, drawings and aquarelles, placing them as seed in humus, out of which the New germinates. Lust for the New, for new people and pictorial design, enriches his Garden of Lusts, turning them into a Garden of Love. Nature and art, and in their midst: life itself.