Between freedom and colors: Ute Laum, the art of imperfection

Ute Laum

We met Ute Laum in Kritzmow, Germany, where she has lived and worked for over thirty years. Born in Bonn in 1957, the painter, who initially pursued a long career in medicine before dedicating herself entirely to art, sees painting as a space of freedom in which—as she puts it—"perfection must be avoided at all costs." Trained by artists Fritz Brockmann and Jürgen Weber, and working independently since 2010, Ute Laum's works are now part of numerous private collections in Europe, North America, and the Middle East. During our interview, she spoke with great candor and intensity about her journey, her relationship to the artistic gesture, and her almost existential need to paint. Here is our conversation.

Hello Ute Laum, what motivated you to create works of art and become an artist?

From childhood and adolescence, I visited numerous museums and galleries with my parents. Impressionism, and later Expressionism, particularly fascinated me. When I began painting on my own, one of the defining moments was a visit to the Schwaan Art Museum, a former artists' colony very close to my home. It houses many works by the painter Rudolf Bartels (1872-1943), who depicted rural life abstractly with a very characteristic large, flat brush. These paintings greatly influenced my working method. The large, flat brush became my preferred tool. In 2009, I also had the opportunity to see an exhibition of the Austrian artist Herbert Brandl at the Deichtorhallen in Hamburg: immense, powerful works of incredible force. They made a profound impression on me. And even today, I sometimes find elements in my paintings that remind me of that exhibition.

How has your artistic journey unfolded? What techniques and themes have you explored so far?

My artistic journey didn't really begin until relatively late. For several years, I received my first formal artistic training from the Mecklenburg painter Fritz Brockmann, who greatly inspired and supported me. Like many of my colleagues, I initially worked in a very figurative style, preferably in oils, before becoming increasingly abstract. Today, I work exclusively with highly pigmented acrylic paints and a large, flat brush.

In the vineyards (2025), Ute Laum, Acrylic on canvas, 80×100 cm

What are three aspects that distinguish you from other artists and make your work unique?

All my works must be striking, recognizable, and unique. They tell a lot about me. They also reflect my state of mind at the time, which can vary greatly. Some days, my paintings become hesitant, weak, restrained. This eventually frustrates me so much that I cover them entirely. This is often how my favorite works are born. A very important aspect for me is my refusal to produce mass-produced work. I don't want to create paintings that could be summed up as "once you know one, you know them all." There is far too much to discover for that.

Where do you get your inspiration?

I draw my inspiration from my surroundings. After German reunification, I moved in the early 1990s with my family from the Rhineland to Mecklenburg-Western Pomerania, on the Baltic coast. My love for this sparsely populated region, with its still-pristine nature in places, profoundly affected me, and it continues to do so. Here, nothing is perfect or polished, nothing is garish or cheerful. So, every day I try to create something imperfect and I readily add a touch of black to my colors. A little melancholy is necessary.

What is your artistic approach? What visions, sensations or emotions do you wish to evoke in the viewer?

I try to stimulate the viewer's imagination while influencing them as little as possible. This is also reflected in my choice of titles, which are sometimes intentionally ambiguous. For me, painting is a kind of language of its own, and in the best-case scenario, the viewer and I speak the same language.

How does the creative process of your works unfold? Is it spontaneous or preceded by a long period of preparation?

Before starting on a blank canvas, I only have a rough idea of the type of motif. Nothing is sketched out. Everything arises from the situation. The project can, however, end up in a completely different way than planned. I could show long series of photos showing all the variations that ultimately led to the finished work.

Do you use a particular technique? If so, could you explain it?

I prefer working with a large, flat brush so I don't get lost in the details. I paint quickly, with broad strokes, layering the surfaces. I never use pure colors straight from the tube. At the end, I mix all the leftover paint on the palette. This mixture must be incorporated in small quantities. This "ground," which at first seems unsightly, keeps the entire chromatic composition in harmony.

Are there any innovative aspects to your work? If so, what are they?

I don't think anything I do is innovative. Basically, it's all already existed somewhere…

Charlotte's Pond VI (2025), Ute Laum, Acrylic on canvas, 80×120 cm

Is there a format or medium with which you feel most comfortable? If so, why?

I prefer to paint medium-sized square formats. I find that a square makes it easier to create tension, and a medium format can be easily rotated during the process, which allows me to capture and modify the dynamics of the painting.

Where are your works created? At home, in a shared studio, or in your own studio? And how do you organize your creative work there?

My studio is in my house. It's an attic room. Producing large-format pieces there is a challenge, but working from home also has enormous advantages. I can interrupt my work at any time and resume it just as easily.

Does your work require you to travel to meet new collectors or participate in fairs and exhibitions? If so, what do you gain from it?

I used to exhibit regularly, which allowed me to be in direct contact with customers. Their points of view were often interesting to me, but I was always afraid of being influenced.

How do you envision the future evolution of your work and artistic career?

I don't have any grand ideas about how my development will continue. I'm simply curious to see what comes next, and I intend to keep working, learning, and improving for as long as I can hold a paintbrush.

What is the theme, style, or technique of your latest artwork?

The last major series I worked on was titled "Out of the Dark." I have a great fascination with colors that magically emerge from a dark background. But since my choice of motifs also depends on the seasons, I interrupted this series to create some works inspired by spring.

Bending to the wind (2025), Ute Laum, Acrylic on canvas, 80×100 cm

Can you tell us about your most memorable exhibition experience?

It wasn't a significant experience, but it was amusing: a couple argued about whether or not to buy one of my works. He absolutely wanted it, she absolutely didn't. It was a real drama, and he ultimately won, even though I practically advised him against buying it to save his relationship.

If you could have created one famous work of art from art history, which would it be and why?

I would have loved to paint Caspar David Friedrich's "The Monk by the Sea." I adore it. It shows how small and insignificant human beings are in the face of nature and its power. This painting is a plea for greater humility.

If you could invite a famous artist (living or deceased) to dinner, who would it be? And how would the evening go?

I would invite Gerhard Richter in the hope of being able to assist him in the creation of his scraper works. Preparing his colors would be an immense pleasure.