ABOUT THE ARTIST
Stefan Geissbühler was born in Interlaken, Switzerland. Although he wanted to be an artist from an early age, he originally trained and worked as a chef. In 1992, Stefan hung up his toque and moved to the USA to follow his dream to work as a professional artist. Since then, Stefan has successfully grown his art business, working out of his studio near Denver, Colorado.
Stefan describes his work as New-Century Modern, a combination of a Mid-Century Modern aesthetic and echoes of Abstract Expressionism.
His inspiration has many sources, including travel, nature, architecture and music, but he ultimately relies on his imagination to express an idea. Stefan’s signature style combines dynamic shapes and expressive lines using spackle knives, brayers and vibrant colors, and results in art that visually sings.
Stefan’s engaging work is sought out by national and international, private and corporate collectors all over the globe, including University of Colorado Hospital (Denver, CO), Modern IR (Denver, CO), Prime Source Staffing (Denver, CO), Chamber Music Society of St. Louis and Casino Kursaal Bern in Switzerland, just to name a few. Stefan has also created commissions for internationally known conductor Leonard Slatkin (Detroit Symphony & Orchestre National de Lyon), Centene Corporation CEO Michael F. Neidorff (St. Louis, MO), Haselden Construction (Denver, CO) and many other private and
My intention is to engage the viewer in a dialogue that takes place between the artwork and the viewer.
I prefer to use acrylic paints with hardboard as the substrate. Acrylic paints dry quickly, allowing me to layer colors without "muddying" their vibrancy. The rigidity of the hardboard supports my technique of painting with stiff, sharp-edged spackling knives, and the smooth surface allows me to achieve any desired textures.
A painting starts with a loose sketch drawn on the black-gessoed hardboard. Next, I create an underpainting consisting of darker values. This enhances the colors of the successive, lighter-valued layers, and adds visual interest and depth to the painting. I rarely use a brush except to add thin accent lines or highlights.
I hand-craft my signature frames, making them part of the art. The frames consist of a boxed, oak-veneer panel, a thin metal frame and four brushed-metal fasteners that allow the painting to visually float 1/2 inch above the panel. The dark ebony finish that I apply to the panel allows the character of the wood to shine through, enhancing the colors and visual energy of the painting. The clean, simple lines of the frame also give my artwork an elegantly modern look that complements any decor.
ART THAT SINGS