in both his large-scale murals and canvases, hendrik beikirch – also known as ecb – depicts portraits that tell a story.
he draws attention to those who have a magnetic personality or some other recognizable value, characters who become all the more interesting because they remain anonymous.

there is no one specific, therefore they remain just recognizable.
the anonymity of the portraits is what is of interest, associations with individuals accessed from the masses are being opened.
everyone has something special, a little different from the next.
a slightly different shade of gray, a personage as any other, but still themselves.
the melancholy that the faces radiate is somehow comforting, yet these portraits in the public space do not try to thwart or break the mood of our cities, but share a silent companion with us.
the portraits on the walls represent both the people behind them and those who populate the streets.
both get a face here.

a peculiarity in the appearance of outdoor space is formed by his tendency to create perspectively distorted portraits in the fictional work series.
as realistically as they are in detail and technique, through perspective they are accepting the boundaries of their optical illusion, that of their image and character.
shadows of the road, concrete figures at times melancholic, other times with a brisk expression: they require not only attention but demand their visibility.

this preoccupation with the large-format portrait is also reflected in his studio work.
random encounters and conversations provide the content for these mirror-of-the-soul images, translating personal history and sketching their expressions on the canvas.
they get the stories inside and make walls transparent.

beikirch belongs to a new generation of artists who have found unique approaches.
a constant process of his artistic practice is how immediate and large-scale outdoor spaces can adequately be incorporated into interior works.
and vice versa, composition and details of the work on canvas also carry over to the outdoors.

as beikirch’s portraits in public space address intimacy directed outwards, in the interior, they radiate anonymity.
these relationships make beikirch’s work captivating and give it a unique position in the contemporary art world.

increasingly, his works take on a monumental scale turning the painting process into a bold venture.
only in august 2012, he created a 70-meter-tall portrait of a fishermen in busan, south korea, now being asia’s highest mural.
followed by india’s tallest mural in new delhi as well as the tallest mural of the benelux in 2014.

there are not many who discuss the manner of interior and exterior spaces as clear, sophisticated and charming for both artist and viewer.
black and white, clearly ambiguous.