24 march 2025, Martine Bontjes
The studio of... André Wendland
From a small castle building in Karlsruhe, André Wendland works on his cartoon-like oil paintings. After a bike ride to his studio, Wendland starts his day by sketching from behind his iPad. Digital drawings slowly transform into rough sketches on large canvases. Wendland draws inspiration from cartoons such as Family Guy and Bob’s Burgers, which he watches to end his studio day. The colour fields he observes in these cartoons intrigue him the most: "The nice thing about cartoons is that they are reduced to areas of color, so for example, a green sweater becomes a dark blue sweater in a dark scene, or a yellow hat turns green." Wendland blends his childhood memories with the simplicity and humour of cartoons. The result: large, vibrant oil paintings with lively fluorescent colours.
At Art Rotterdam, Valerius Gallery presents a series of paintings where Wendland takes us back to his childhood bedroom. Toy vehicles take centre stage, and are meant to draw the viewer into a playful world reminiscent of a child's imagination.
Where is your studio and can you describe what it looks like?
I finished my studies here at the Art Academy and since about one-and-a-half years I have my studio on the top floor of a cultural center, in which there are many other rooms that are used creatively. From the outside, the building looks like a small castle and I am very happy to have such a beautiful space to work in. Furthermore the studio has some special features, such as a built-in crane that I use to lower my larger works down the facade of the building, as they no longer fit through the staircase once they reach a certain size.
What does a typical studio day look like? Do you have certain routines to start your day?
I don't really have a particular routine to start the day. it's more like getting up, drinking coffee, hopping on my bike and riding to the studio. Maybe getting some food for the day on the way. Then I do whatever needs to be done, stretching canvases, priming, and of course painting. During exhibition preparations, like right now for art Rotterdam, my days are definitely longer, so it's not unusual to be in the studio from 10 in the morning until 12 at night. but I think everyone who works creatively knows that you don't want to interrupt it when you're in the flow.
Can you walk us through your creative process, from the initial sketches to the final oil painting on canvas? Do you work from stage to stage, or do you work at multiple works at the same time?
I used to work a lot with sketchbooks. Today I almost always use my iPad for the first ideas. Since I am very interested in colour and form compositions, the digital sketch helps me to visualize the idea very quickly and easily in different variations. The first sketch on the canvas is then very rough and simple and I start building up the painting step by step. The colour scheme is usually decided relatively spontaneously during the process, so I often overpaint larger areas of the painting because sometimes I like to change my decisions. Since I paint with oil, which dries very slowly, I have started to paint several canvases at the same time in order to be able to work on further projects while other works are drying.
I read that you prefer watching to reading, what images and TV series have inspired you for your new works?
Oh yes, I end every day with an episode of Family Guy or Bob's Burgers. Aside from the fact that I really enjoy being entertained like that, I've also been able to gather a lot of inspiration for my work in the studio. For example, when it comes to colors in light and shadow situation. The nice thing about cartoons is that they are reduced to areas of color, so for example, a green sweater becomes a dark blue sweater in a dark scene, or a yellow hat turns green. I've started paying attention to things like that and incorporating them into my work.
Your use of bold colors invite the viewer into a lively, animated world. What role does color play in your artistic expression, and how do you choose your color palettes?
I enjoy incorporating fluorescent oil paints into almost all of my paintings, as they help create strong contrasts. As I mentioned earlier, the colors often emerge spontaneously during the painting process and frequently change along the way. For instance, I sometimes mix the next color using leftover paint from a previous one, which adds to a harmonious atmosphere in the paining. I also intentionally leave areas of the underlying color exposed, which can create subtle borders between overlapping color fields.
In your latest work, toy vehicles reappear with a playful touch. What is it about them that captures your interest?
Similar to what I’ve seen in cartoons, toy vehicles capture the essence of simplicity that I enjoy incorporating into my paintings. They transport the viewer into a playful world reminiscent of a child’s imagination, while also offering new and fascinating perspectives on composition and design. I already pay attention to the presentation of the works during their creation, as I like to craft a special atmosphere. I had already completed one or two pieces for the exhibition, and the idea of using toy motifs gradually developed as I envisioned how the exhibition stand would eventually look in the end.
The toy duck stepping on a cigarette seems like a playful yet poignant image. What was your inspiration for this particular combination, and what message do you hope to convey through it?
In my work, there is rarely a deeper meaning that I want to convey.
Instead, I prefer to leave things open and let the viewers interpret the rest. In this case, the cigarette serves more as a compositional element rather than a symbolic one, as it echoes the shape of the ‘stick‘ in the lower part of the paining. Since I am aware that the artwork can be interpreted in many different ways, I have kept the title as neutral as possible, focusing only on the sound this toy makes when you move it in real life: *Flap Flap.*
You often use humor and wit in your paintings. How do you balance playfulness with deeper themes in your work? Humor can be a powerful tool, but it can also be misunderstood.
I think that because I try to handle many things with humor in my private life, this routine naturally finds its way into my work in the studio. Even here, humorous visual elements are often just small puzzle pieces contributing to a harmonious overall composition. For example, my works frequently feature large, round eyes, similar to those found in cartoons. For me, these eyes often mirror other circular shapes within the painting, creating an engaging dynamic.
Humor is also a broad field and can be expressed in many different ways. On the one hand, there are the specific facial expressions of the characters, but what I find even more interesting are the deliberately chosen compositions and close-ups. So, I believe there are many different ways to direct the painting in a playful manner in various directions.
Are there any projects or collaborations you are currently dreaming of but haven’t yet been able to realize?
There are many projects I would like to realize in the future. During Covid in 2020, I made a few small and very simple clay stop-motion films at home and had a great time doing it. I would love to pick that up again when the time is right and explore it further, as I also think it's a great addition to my paintings. And then I would also love to do a residency at some point; the location isn't really that important to me at first, but I think working in another city with new people around could lead to interesting new ways of thinking.
What are you working on at the moment?
I’ve spent the last 2-3 months completely focused on preparations for Art Rotterdam, and I’m now in the final stages. I’m even more excited to finally set everything up and see the result!
What we can expect from your solo booth at Art Rotterdam? I saw some photos of a play carpet covering the booth.
I don't always enjoy presenting my works on clean white walls. Instead, I prefer creating a certain atmosphere that welcomes the viewer. That’s why I also enjoy working with installation elements in exhibitions. I decided to include a play carpet for the booth—one that many will likely remember from their childhood. In my opinion, it’s an element that playfully connects all the different works and creates exactly the mood in which I want to present my work.
