Current / Upcoming exhibition
Information about upcoming exhibitions and events will be published soon.
A complete overview of the most recent work can be found here
A complete overview of the apple painting series can be found here
I like to compare my craft with that of the baker. A bread and a painting. The dough of the painting is created by the order of the colour, the division of the surface, the choice of the material. Somehow the work must succeed in producing something precious, otherwise the whole thing is a futile effort.
The transformation from arbitrariness into the precious is necessary. It is often difficult to tell whether this transformation takes place only in the mind, based in a euphoric mood, or whether it has happened materially with the painting and is real. But the appearance of preciousness can also be overlooked by me in a phase of despair during work, destroyed again in the turbulence of transformation.
What holds itself and what does not hold itself. Painting is a dirty craft. Earth accumulates, and a breath of it should remain in the finished painting. Don't get too clean, don't wash off all the dirt. Sometimes I also think that painting is worn out and exhausted today; and pursued by reproaches and criticism: Everything already said, everything done, the best over. The temptation is obvious to believe that today other visual media are better suited to rethink existence.
Perhaps they are less consumed and less burdened by long tradition. But there are also times when I work and am convinced that even in painting there are still unspent paintings to be found that credibly bear witness to our lives, simple statements without the illusory spirit of cynicism.
Documentary commentaries, interferences, reflections, which have become matter through paper or fabric and some paint, which are distributed in a certain order over a surface. This surface can be large or pocket-sized.
But painting is still there. Bread still exists. But " the human being does not live from bread alone... ".
Willi Mueller, 28 February 2007
Painting wall and painting storm
(iconostasis and iconoclasm)
Why do I still enjoy working with paintings so much after thirty years? Although this profession is so unpredictable.
You can't set out the exact path of the day, execute the work plan, on any morning. It always comes differently. Sometimes you can build up quickly, the painting structures grow, and then you catch yourself tearing down the walls again. They are in the wrong place. Everything can be wrong and everything is right yet.
Then everything is straight again, but nothing is right. The painting wall is an exhibition form of the Middle Ages, also of poverty. Small paintings (offerings) are more or less arbitrarily placed next to or on top of each other in the church. Treasures next to kitsch.
The painting wall is in motion, time changes it. Paintings are added, others are removed. And here and there comes a storm of paintings. Everything or almost everything is thrown away, destroyed. The wall becomes empty. It is reformed. Until it begins to grow again, like in the forest after the storm.
People start installing paintings or things again. They are deliberately placed in relation to each other or intentionally not. And it always starts all over again, as in my work with colours. It becomes full, and everything empties itself out again. There are only small moments where the whole pauses. That's where I stand with my small exhibition: between the painting wall and the painting storm.
Willi Mueller, 6. September 2004
Further drawings can be found here
You will find an overview of the Quartier painting series here
I must be wrong infinitely
More photos of exhibitions and events can be found here
The defence of the whole
Painters like Derain and Amiet used to upset me. I saw this washing between decided positions as a weakness. In the painting, they were impressionists, expressionists, or even swayed back to older positions, but they weren't any of it completely.
Today I see it differently. I see the holding of a middle, fluctuating in an emergency, undecided, as my own quality. Not to be taken in by a certain attitude. Not wanting to give up the ancient in painting and yet stretching out to the new, to the different, hesitant, slow, taking steps forward but if necessary retreating: an anxious exuberance in setting the color, in holding on to form and even object and yet losing everything again.
Thus painting remains poor, in a kind of raw state, fragmentary, appearing, showing more questions than answers. But it should keep the discourse of the time and consider the old great questions of mankind. In the danger of heaviness she should strive for the easy. In any case, I keep it with Manet, who also kept the option open in old age, to occasionally "only" paint a bouquet of flowers or a few fishes.
Willi Mueller, August 2012
Projects - stained glass windows
More photos of the stained glass windows in the church of Neuenegg can be found here
More photos of the studio of you can find here
Solo and two-person exhibitions
2018 gallery da Mihi, Bern
2017 gallery Meier, Arth Goldau
2016 gallery Vinelz, Vinelz
2016 gallery Silva Denzler, Zuerich
2016 gallery Maeder, Basel
2014 gallery Kunstkeller, Bern
2014 gallery Maeder, Basel
2012 Castle Schoeftland, Schoeftland
2012 Art Etage, Biel
2011 gallery Kunstkeller, Bern
2010 gallery Selz, Perrefitte
2009 Kunstwerkraum, Ins
2009 gallery Vinelz, Vinelz
2008 gallery Kunstkeller, Bern
2005 gallery Kunstkeller, Bern
2004 Altes Spritzenhaus, Nidau
2004 gallery Susanna Rueegg, Zuerich
2003 gallery Vinelz, Vinelz
2002 gallery Kunstkeller, Bern
2001 «Nachsommer» Von Ruette-Gut, Sutz
2000 gallery Vinelz, Vinelz
1999 gallery Kunstkeller, Bern
1998 gallery Schuerer, Biel
1997 gallery Ist, Burgdorf
1995 gallery at Amtshatmel, Baden
1995 gallery Ist, Burgdorf
1995 gallery Vinelz, Vinelz
1994 U-gallery, Zuerich
1994 gallery Schuerer, Biel
1993 gallery Ist, Burgdorf
1992 «Industry exhibition» Intermilch, Bern
1990 gallery at Amtshatmel, Baden
1989 gallery at alten Schuetzenhaus, Zofingen
2014 «gastspiel 02» Trudelhaus, Baden
2013 «Vom Boden aus» Stadtkirche, Biel
2002 «Open 02» Projekte in der Pasquartkirche und Stadtkirche, Biel
2001 Positionen aus der Sammlung Kunsthaus Pasquart, Biel
1993 «Inspirationen» Landenberg, Sarnen
1992 «Inspirationen» Ausstellungsreihe «das Rad", Deutschland
1991 «Endstand» gallery Alzbach, Reinach
1990 + Jahresausstellungen der Kunstszene, Biel
1989 «Dialoge» GSMBA Aargau, Kunsthaus Aarau
1988 «Koepfe» gallery im Trudelhaus, Baden
1987 Stiftung fuer ganzheitliche Medizin, Langenthal
Projects and assignments after competitions
2017 dialogue XV, Darmstadt Germany
2002 stone lithograph at Gassmann AG, Biel
1999 church bell design, Ipsach
1996 wall painting at multi-purpose building, Ipsach
1995 stoned glass windows at church neuenegg, Neuenegg bei Bern