Concealed and Revealed
Part 1
Fabric of the Interior
The Beginning of the Work with Textiles

Kissmer’s theme of inside and outside evolved into an expression of perfect still rooms. As in 'Atelierfenster” (Studio Window) these are spaces in which the artist forms an environment out of his own aesthetic principles. This environment is without people but contains relics of their presence. In these pictures without a main figure, details become all important. It is through details that the artist creates highly suggestive spaces, mysterious spaces that challenge our senses.
Zum Klang einer Bambusflöte Eventually individual motifs form an integral part of these works. Initially an arrangement of draped cloth is used as a focal point and eventually fabric becomes the central subject of many pieces. A pivotal work during this period is 'Tuchfühlung” (Cloth Touch). Here a silk jacket hangs over a step and an old fashioned walking stick (in reality the artist’s painting stick stands there).
Sometimes the view is from the outside, looking into the room, as in 'Verhängtes Fenster” (Concealed Window). Here the viewer is confronted with an arched window with a striped cloth hung as a curtain providing the study of fabric.
In a subtle way, fabric has become the central subject. The themes around inside and outside persist while the folds and nuances of material are held up as a delight to our senses: a delight that is sustained through the artist’s careful and masterful presentation of form and detail.

Kissmer’s Nudes

An ephemeral piece of silk clinging to a lithe female form is the unmistakable hallmark of Willi Kissmer.
The fabric that became a dominant motif in the artist’s work embraces the female figure creating the central theme in Kissmer’s oeuvre. A fabric so thin it seems wet is always tight to the skin and allows all the contours and curves of the body to appear. In 'Im Roten Kleid” (The Red Dress) the fabric and body are fused into a harmonious whole.
Draperie 1998
Small half nude II ,1997 Typically, only a portion of the head is visible, creating anonymity and timelessness. The focus is on the torso and the figure appears alone, without a background, establishing an aesthetic link to classical sculpture. Arms are only partly shown and hands not at all. These are characteristic even of the earliest figurative works, like 'Kleiner Halbakt” (Small Half Nude) and continue to be central to his style.
The artist is much more interested in the partially clothed female than in the complete nude. The full nude for him is not demanding enough. For Kissmer it is a combination of flesh and fabric that form the core of his aesthetic. He balances the texture of the female skin with the addition of cloth. Within the folds of fabric the force of gravity becomes visible: a force at once real and imaginative, full of poetic possibility. The draping and creases tell their own story of time and transition and create an unlimited variety of meditative landscapes for the viewer.

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