The Life and Training of Erich Reiling

Erich Reiling was born on February 3, 1953, in Ersingen (Kämpfelbach), Germany. His early years were shaped by the landscape of the region, eventually leading him to the Kepler-Gymnasium in Pforzheim, where he completed his Abitur. This foundation provided the necessary entry into formal design studies, moving him toward a more structured exploration of form and space.

Between 1974 and 1978, Reiling focused his studies on product design. This period of training was split between two institutions: the Fachhochschule für Gestaltung in Pforzheim and the Fachhochschule Münster. These years spent navigating the technical requirements of design and the tactile nature of drafting would later inform his approach as a painter and draftsman. He eventually settled in Karlsruhe, where he continues to work as a freelance artist.

Academic Career and Teaching Positions

Reiling’s professional life has been closely tied to the academic structures of southern Germany. His involvement in teaching began in 1981 at the Fachhochschule für Gestaltung Pforzheim, where he spent over a decade as a lecturer for painting and drawing. This period of instruction lasted until 1993, establishing a long-standing connection to the institution in Pforzheim.

His teaching moved through several university settings in the years that followed. Between 1993 and 1998, he held a lectureship for painting at the Johannes Gutenberg-Universität Mainz. During this same timeframe, specifically from 1997 to 1998, he also worked as a lecturer for painting at the Staatliche Hochschule für Gestaltung Karlsruhe. These roles allowed him to engage with different academic environments across the region.

In 2001, his relationship with Pforzheim took a more permanent form when he was appointed as a Professor for Painting at the Hochschule Pforzheim. He continues to hold this position, maintaining a presence in the academic sphere while working as a painter and draftsman in Karlsruhe.

Artistic Recognition and Awards

The year 1987 brought several recognitions that marked a specific period in his development. He received the Kunstpreis der Stadt Wolfsburg through the Forum junger Kunst. During that same year, he was nominated for the Bremer Kunstpreis, a nomination put forward by the Badischer Kunstverein in Karlsruhe. His work also caught the attention of the Stiftung Kunstfonds Bonn, which awarded him a scholarship in 1987.

A year later, in 1988, his presence in the regional art scene was noted again when he received the Kunstpreis der Werner-Stober-Stiftung in Karlsruhe. These honors arrived as he was establishing his practice, moving through the various institutions and spaces that define the landscape of German contemporary art.

Exhibitions and Public Collections

The presence of Reiling's work in institutional settings reflects a steady trajectory through German art spaces. In 1983, he held a single exhibition at the Badischer Kunstverein in Karlsruhe. His pieces have also been featured in various group exhibitions, including those at the St. Annen-Museum in Lübeck in 1987 and the Kunstverein Bochum in 1988. Later, his work was part of the "Kunst der 90er Jahre" at the Badischer Kunstverein in 1993.

Public collections hold several of his works, ensuring his practice remains part of the regional and national record. His paintings and drawings can be found in the Ulmer Museum in Ulm and the Kunstmuseum Karlsruhe. His work is also included in the Sammlung Deutsche Bank in Frankfurt am Main. Other institutions holding his pieces include the Zentrum für Kunst und Medientechnologie in Karlsruhe, the Sammlung Lepsien Art Foundation in Düsseldorf, and the Ulmer Museum.

• Untitled, about 1983 - Staatliche Kunsthalle Karlsruhe, Carlsruhe

Technique and Artistic Style

Reiling works as a freelance painter and draftsman, moving between the precision of drawing and the weight of painted surfaces. His practice involves a variety of media, including ink brush drawings and pencil drawings that require a steady hand. In other instances, he uses mixed media on Velin to build up his compositions. The physical presence of the work often comes from the way he applies pigment. He is known to use thick layers of color, creating a surface where the paint has a tangible, heavy quality.

The way light interacts with these surfaces reveals much about his method. When color is applied in dense, thick skins, the nuances of grey and black become more apparent. In certain light, these layers can take on the appearance of crystal veins within stone. The texture of the paint is not uniform; instead, it shifts between heavy application and lighter, streaked marks. This creates a surface that changes depending on the angle of the light and the shadows gathered in the corners of the work.