Interview with Eric Hubbes
Introduction
Eric Hubbes is an artist whose work bridges the realms of science, philosophy, and aesthetics. Based in Bonn, his atelier serves as a creative hub where he works on canvas and paper, utilizing a wide range of materials and techniques—including acrylic, watercolour, marker, charcoal, texture paste, and collage. His creative journey explores universal themes such as transformation, interconnectedness, and the cyclical nature of existence. By integrating elements of quantum mechanics, chaos theory, and surrealism into his art, he creates visually compelling works that challenge conventional perceptions of reality. Hubbes' distinctive use of symbols like spirals, eyes, and snakes connects viewers to deeper metaphysical dimensions, making his work both intellectually provocative and emotionally resonant.
Artist Statement
"My art is a synthesis of intuition, science, and spirituality, reflecting the tension between chaos and order. Working in my atelier in Bonn, I use canvas and paper as the foundation for exploring the interplay of diverse mediums—acrylic, watercolour, marker, charcoal, texture paste, and collage. These materials allow me to build intricate layers of meaning and texture that dissolve the boundaries between matter and psyche. Through the combination of geometric clarity, fractal complexity, and archetypal symbolism, my work becomes a medium for exploring the subconscious and questioning the nature of reality. It is my hope that viewers find not just aesthetic pleasure but also a space for reflection, wonder, and intellectual engagement."
Your art combines complex themes such as quantum mechanics, chaos theory and existential questions in a unique visual language. How do you manage to translate these seemingly abstract concepts into tangible and emotional works of art without losing the coherence of your work? What principles or creative processes guide you?
Thank you for this interesting question. The combination of quantum physics, chaos theory and art may seem unusual at first glance, but for me they are deeply interwoven. They all deal with the nature of the universe - with order and chaos, with potential and manifestation. In my art, I try not only to depict these principles, but to make them tangible.
Chaos as a creative structure Chaos theory shows that what initially appears random often follows hidden patterns. It is similar in my creative process. I often start with spontaneous, uncontrolled movements - lines, structures and shapes appear to emerge on the canvas by chance. But over time, a deeper order reveals itself. Like fractal patterns in nature, certain elements repeat themselves, develop their own rhythm and come together to form a harmonious overall composition.
This way of working allows me to strike a balance between intuition and system. I allow chance to happen, but I also observe where it leads me - a process that resembles the principles of chaotic systems that follow an inner logic despite their apparent unpredictability.
Quantum physics and the principle of possibilities Quantum physics shows that reality is not fixed, but changeable - it exists in possibilities until it takes shape through a decision or perception. A quantum state can unfold in different directions - only through observation or interaction does one of the possibilities become reality. This idea is reflected in my creative process. Every brushstroke, every layer of colour is a decision that previously existed only as a possibility.
I see this interplay of control and letting go as an artistic parallel to superposition in quantum mechanics: While painting, all possibilities exist simultaneously, and only with the final work does a reality manifest itself.
Visual realisation and emotional resonance Scientific theories alone do not make art. It is crucial that the underlying principles are expressed in a form that intuitively touches the viewer. I consciously work with patterns, geometric structures and symbols that have universal resonance. Fractals, spirals and vibrations are not mere decoration. They combine scientific concepts with intuitive perception.
This approach makes my works not only a mirror of theoretical concepts, but also a space of experience for order and chaos, for the tension between structure and chance. My aim is not to depict scientific findings one-to-one, but to translate them into a visual language that can be grasped intuitively.
Art as a medium between science and emotion In my work I look for a synthesis of knowledge and emotion. Science explains, art lets us experience . I see my works as a kind of resonance chamber for these concepts. As the physicist Richard Feynman said: "Nobody really understands quantum mechanics." It is similar with art: it does not need to be fully understood, but experienced.
My aim is to offer the viewer not just an image, but an experience - an invitation to reflect on the hidden structures of the universe and our own existence.
Titel: Time and Energy (Series) 2025
Size: 84,1 × 118,9 cm
Technique: acrylic, marker, charcoal, structure paste on canvas
Titel: Time and Energy (Series) 2025
Size: 59,4 × 84,1 cm
Technique: acrylic, marker, charcoal, structure paste on canvas
Titel: Time and Energy (Series) 2025
Size: 42 × 59,4 cm
Technique: acrylic, aquarelle, marker, biro on paper
Titel: Ambition of the Ego (Series) 2025
Size: 42 × 59,4 cm
Technique: acrylic, aquarelle, marker, biro on paper
Your art plays with perception, symbolism and intuitive processes that often oscillate between reality and the unconscious. What role does the irrational or the unexpected play in your creative process? Can parallels be drawn with the surrealist approach, or would you describe your work more as an independent exploration of the subconscious? How do you manage to use visual elements in such a way that they evoke a new understanding of reality in the viewer or invite them to look beyond the obvious?
The irrational and the unexpected are central elements of my art. My creative process often begins intuitively - with free forms that arise spontaneously on the canvas. This apparent randomness gradually develops into an inner order, similar to natural structures or chaotic systems that only reveal patterns at second glance.
Between surrealism and my own visual language While surrealism explicitly explores the unconscious and the dreamlike, I do not see my work as a direct continuation of this movement. However, there are parallels - especially the idea that art can build a bridge between the conscious and the unconscious. I follow an inner logic, often discovering themes after the fact and letting myself be guided by spontaneous impulses. My approach is reminiscent of surrealist automatism but combines with scientific and philosophical concepts such as chaos theory and the idea of fractal structures as universal principles.
Playing with perception and reality A central aim of my art is to scrutinise patterns of perception and open up new perspectives. My paintings often contain elements that remain ambivalent for the viewer - forms that oscillate between figuration and abstraction, structures that dissolve or merge into one another. In this intermediate space, where nothing is clear, the viewer can find their own interpretation.
Symbolism and intuitive patterns Certain forms appear again and again in my work, not as consciously planned symbols, but as an organic consequence of my creative process. Eyes often appear, not because I use them consciously, but because they emerge from the structures of my pictures. I am particularly fascinated by spirals and fractal patterns as they create an inner rhythm that both inspires and calms me.
In a special series, I worked with tarot cards, using various cards as a starting point for my compositions. Tarot is not a central motif in my art, however, but served as a concept in this series. Rather, I am interested in the idea that certain patterns or symbols can create universal resonances - not because of fixed meanings, but because they touch on archetypal structures that are deeply rooted in our perception.
Chaos and intuition in my creative process My work moves between control and letting go. I start with impulsive strokes or colour fields, let myself be guided by the materiality of the colours and structures and observe which forms emerge. Only later do I consciously decide which elements to intensify or let disappear. This way of working is reminiscent of chaos theory, in which superordinate patterns emerge from random variations - a concept that can be found in both science and art.
An experience beyond the rational My art should not only appeal visually but also be experienced emotionally and intuitively. The viewer is invited to question their perception, to reinterpret familiar forms and to engage with the ambivalence of what is depicted. I am not interested in rationally "understanding" a work, but in experiencing it - similar to quantum physics, where a state is only determined through observation.
So while there are certain parallels to surrealism, I see my work as an independent exploration of perception, intuition and the hidden order behind the obvious. It invites the viewer to wander between chaos and structure, the conscious and the unconscious, reality and imagination.
Titel: The Death (Tarot-series) 2025
Size: 101 × 79 cm
Technique: acrylic, marker, charcoal, structure paste on canvas
Titel: The Fool (Tarot-series) 2025
Size: 101 × 79 cm
Technique: acrylic, marker, charcoal, structure paste on canvas
Titel: The Judgement (Tarot-series) 2025
Size: 101 × 79 cm
Technique: acrylic, marker, charcoal, structure paste on canvas
Your art seems to evoke a deep emotional and psychological response in the viewer, often leading them to reflect on the deeper meaning behind the vivid images. What techniques do you use to ensure such deep engagement? Could you also elaborate on how you balance the aesthetic appeal with the psychological depth of your work?
Thank you for this question. My aim is to create an emotional and psychological connection between my works and the viewer. This process is based on an intuitive, often spontaneous approach that underlies my artistic work.
Techniques and creative approaches I use a variety of materials such as acrylic, charcoal and permanent marker, which I apply in multiple layers to create texture and depth. My creative process is dynamic - I often let my hand glide freely across the canvas, creating shapes reminiscent of eyes, snakes, spirals or other organic structures. These elements are not consciously planned but emerge intuitively and reflect an inner energy.
I also work with writing and words, which are integrated into my compositions. They open up new possibilities of interpretation for the viewer and create a connection between the visual and intellectual levels. As my creative process is not completely predictable, the emotional impact of my works always remains open to individual perceptions.
Aesthetics and psychological depth My aim is to find a balance between visual harmony and emotional intensity. Despite their complexity, my works should remain accessible. The combination of symbolism, colour scheme and design creates a rhythmic order that appeals to the viewer at first glance. At the same time, the details and multidimensionality of the pictures allow for deeper reflections.
For me, art is a means of connecting the conscious and the unconscious. The symbols and forms used often carry archetypal meanings that address universal themes such as transformation, growth or observation. The open structure of my works allows everyone to bring their own thoughts and emotions into them.
Final thoughts My art is a dialogue - between me and the canvas, between intuition and conscious design and ultimately between the work and the viewer. I do not want to give definitive answers but rather create spaces in which questions and reflections can arise. This combination of spontaneous creation, symbolism and aesthetics makes every encounter with my works unique.
Titel: The Alchemist (Single piece) 2024
Size: 89 × 73 cm
Technique: acrylic, marker, charcoal, structure paste, collage on canvas
Titel: Eye of Knowledge (Single piece) 2024
Size: 88 × 72 cm
Technique: acrylic, marker, charcoal, structure paste, collage on canvas
Titel: One’s Weaker Self (Single piece) 2024
Size: 71 × 88 cm
Technique: acrylic, marker, charcoal, structure paste, biro, collage on canvas
Titel: Vision of Medicine (Single piece) 2024
Size: 71 × 90 cm
Technique: acrylic, marker, charcoal, chalk, structure paste, collage on canvas
Titel: Lungs of the Sea (Single piece) 2024
Size: 88 × 70 cm
Technique: acrylic, marker, charcoal, structure paste, chalk, collage on canvas
Your art has constantly evolved over the years - from early experiments with form and material to the complex, multi-layered compositions of your current works. What key moments or influences have shaped this change, and how has your artistic identity evolved through these phases?
My artistic development has always been a dynamic process - characterised by experimentation, reflection and the search for an authentic visual language. Each phase of my work has expanded my perception of art and opened up new possibilities.
Early influences and the discovery of form and movement (2013-2015) My artistic journey began in Utrecht, where I intensively explored movement and form. Working with sculptures and centrifugal structures made me understand the dynamics of energy - both physical and emotional. I was particularly fascinated by spiral structures, which can be found everywhere in nature: in shells, tornadoes, galaxies and fractals. For me, they not only symbolise infinity and profundity, but also a constant process of development in which forms repeat themselves but never remain identical. These aesthetics and their relationship to nature still influence my visual language today.
Between nature, spirituality and intuition (2015-2016) When I moved to Cologne, nature and spirituality came more into focus. The woman appeared to me as a mother, a woman giving birth, a creator, while her metamorphosis with the shell shape - a spiral-like structure - embodied infinity. For me, she became a symbol of origin, comparable to the idea of the Big Bang. During this phase, I experimented intensively with this metaphor and translated it into numerous drawings, watercolours and acrylic paintings. I tested different techniques in order to realise the "shell woman" in her final form.
Exploration of the subconscious and spontaneous painting processes (2013-today) At the same time, I began to engage more intensively with my subconscious. The first "brooding paintings" were created - intuitive works that emerged from a direct dialogue with the canvas. This way of painting allowed me to develop structures, symbols and texts directly from the creative moment.
Spirals remained a central element - not as a consciously planned motif, but as an expression of a thought process that oscillates between control and letting go. Each picture thus became a snapshot of my inner reflections.
The Artist's Path and the Importance of Ritual (2016-2017) A three-month creative break led me to read The Artist's Path by Julia Cameron. Her methods - especially automatic writing and drawing - helped me to further develop my intuitive way of working. Inspired by photographs of emotional faces, I explored the energy flow of emotions. I tried to make this visible and emphasise it by incorporating fractal structures. It was less about symbolism and more about the visual representation of the movement and intensity of emotional processes.
Further development and harmonisation (2017-today) While earlier works were often characterised by a detailed and intense visual language, my focus today is on a balance between complexity and clarity. The questions that guide me - What is consciousness? Is there a universal order in chaos? - find expression in my visual language: writing, symbols, geometric patterns and painterly structures are in dialogue with each other.
Spirals and fractal forms remain recurring elements, but today they are in a consciously designed relationship to other compositional elements. They are still created intuitively, but they also help me to direct the flow of energy in the picture and to shape the composition more consciously. This allows me to combine different pictorial elements in a more targeted way and direct the composition more consciously.
Conclusion: A synthesis of intuition, science and symbolism Today, my art combines intuitive painting with scientific concepts and symbolic structures. Each work is part of an ongoing dialogue between consciousness and subconsciousness, with their interplay often reflected in a tension between chaos and order. Through this creative process, I am able to visualise inner disorder and give it form. This helps me to restore a sense of clarity and control and to balance the inner flow of energy. My artistic identity is the result of this open, constantly evolving process.
The first "brooding paintings":
Titel: Search of an Apartment (Single piece) 2015
Size: 134 × 150 cm
Technique: acrylic, marker, charcoal, biro, collage on paper
Titel: Argument with my Father (Single piece) 2015
Size: 154 × 168 cm
Technique: acrylic, marker, charcoal, biro on paper
Titel: Eye of a Dragon (Single piece) 2015
Size: 150 × 168 cm
Technique: acrylic, marker, charcoal, collage on paper
What responsibility does a contemporary artist bear in a changing society? How can art contribute most effectively to the discourse today - as a mirror, a catalyst or even as a vision of a different future?
A contemporary artist is not only an observer, but also a source of inspiration and a space for reflection. Art has the unique ability to go beyond words and convey emotions, concepts and social issues in a way that can be experienced both individually and collectively.
Art as a bridge between the individual and society Especially in times of change, I see art as a medium that can initiate thought processes, open up new perspectives and create connections. Art does not necessarily have to provide answers but rather pose questions that encourage self-reflection and discourse. It does not serve to instruct, but as an invitation to engage with one's own point of view.
In my work I often use organic patterns, symbols and fractal structures - not as political statements, but as visual metaphors for processes of change, interconnectedness and the interplay of order and chaos. These principles can be found not only in art, but also in social structures.
How art contributes to social discourse Art can exert influence on various levels:
Encourage a change of perspective: Art makes it possible to empathise with other ways of thinking and to question one's own perception.
Creating spaces for reflection: it gives the viewer the freedom to project their own thoughts and emotions into the work without providing ready-made answers.
Open up interdisciplinary connections: Combining art with science, philosophy or other disciplines can inspire new ways of thinking.
The artist's responsibility in times of change In a rapidly changing world, the artist's responsibility is not to submit to political trends, but to create independent spaces for reflection and dialogue. Art has the unique ability not only to initiate thought processes, but also to change perceptions. It opens up new spaces for feelings and perspectives by challenging familiar points of view and making alternative possibilities visible. Instead of committing to predetermined interpretations, it should remain a medium that invites the viewer to question their own position and reflect on the diversity of possible realities
My own artistic practice moves between intuition, conscious composition and the influence of different areas of knowledge. My aim is not to make an absolute statement, but rather to facilitate an open, constantly evolving dialogue. My works reflect both spontaneous inspirations and conscious creative decisions, serving as a bridge between individual feelings and collective questions.
Conclusion: Art as an open space for experience The role of the artist is not to present ready-made truths, but to pose questions and create spaces for experience. In an age in which many things seem fragmented, art can be one of the few platforms that does not divide, but unites - not through ideology, but through experience and reflection.
I cordially invite you to delve deeper into my world of art. Visit my website www.erichubbes.com to find out more about my work, upcoming exhibitions and the stories behind the works. Experience how visual symbolism, philosophical reflection and intuitive processes merge in my paintings. Be inspired and discover a new perspective on the connection between art, science and spirituality. I look forward to welcoming you personally to one of my exhibitions and entering a dialogue about the big questions of our time.
