Miron Schmückle n. 1966

Born in Romania during the Cold War and trained in Germany, illustrator Miron Schmuckle creates vibrant compositions of imagined organic forms using India inks, watercolors, and oils. 

 His detailed images evoke vintage botanical drawings and employ a palette of rich jewel tones against clear white backgrounds. Schmuckle describes the resulting biomorphic flora as “allegories of the senses,” and likens his process to the surrealist practice of automatic writing. “My hands start to translate my thoughts onto the paper,” he says. “Once I am in the process, I can stop thinking while my hand continues to paint.”

Schmückle exaggerates the beauty of nature, creating artificial life with flowers that don’t belong to the Earth.

In an interview, Miron Schmückle retrospectively points to the experience of the permanent restrictions in Romania (the exhibition catalogue “Una terza natura”, Bayreuth, 2016). As a child, Miron fights back with the desire to research a jungle sometime. And the images of this vigorous agglomeration of nature a re fuelled by visiting the Botanical Garden in Bucharest. The tropical plants are the ones which fascinate Miron as a child. There is another childhood experience that produces a lasting visual echo for Miron Schmückle.
At the age of seven, he and his father visit the Art Museum in Sibiu, the city where he was born. The museum, situated in a city palace from the 18th century, bears the name of his founder, Samuel von Bruckenthal. He was named provincial councillor and later, governor of Transilvania during the rule of Empress Maria Tereza. Samuel von Bruckenthal was a collector of late baroque art, who during his lifetime, opened his art collection to the public. Miron Schmückle is particularly interested in still life paintings.
Nature’s diversity as well as its most bizarre forms are no stranger to him, from the back garden of his house to explorations around it. Yet in the still life paintings, he observes every crawling creature and every butterfly at a complete standstill; every flower and every stem seem fixated, which he never encountered during his walks through nature. The painters put it before the viewers’ eyes: nature’s abundance and nature’s luxuriance.
– Text by Dr. Hans – Werner Schmidt 

Hidden behind apparent botanical illustrations →