"Crazy Sh*t, Interview

Early 2024 my wonderful friend and businesspartner Julia Beck was quizzing me about the origins of my artistic side. Here's the condensed version of this interview in 2 parts.

Julia: The other day I heard someone say "This is crazy shit!" ... looking at one of your paintings. What was your reaction?

Imke: I loved it. I love it when people react emotionally to art in general, when they are surprised, shocked, amused, horrified, uplifted ... whatever it is ... I even thought for a moment about starting a "crazy sh*t" series ...

Julia: Let's go back to the origins of this "crazy sh*t", shall we? You've had an extraordinary journey, from a childhood in the Swabian countryside with plenty of room for creative experimentation, through a career in business and consulting, and back to painting. Can you take us back to where it all began?

Imke: I was lucky enough to grow up surrounded by nature and books. Art books were my favourites - although they were mostly about old masters like Lucas Cranach the Elder or Hieronymus Bosch, rather than modern or contemporary art. I was particularly drawn to Cranach's work, which to me exuded great serenity and power, and I absolutely adored the legs in the Adam and Eve paintings. Bosch, on the other hand, fascinated me with the mere assembly of bodies in all sorts of undertakings, but also unsettled me. I started painting very early. There's a painting I did when I was three years old ... I can still recognize my brushstrokes in it (laughs). I also remember a period when I had paper dolls that I dressed in my own creations. I was fascinated by the fabric patterns and would draw them with great dedication and attention to detail. Drawing while listening to music or an audio book was my secret paradise.

Julia: It sounds like art was more than just a hobby for you; it gave you a sense of security and comfort.

Imke: Absolutely.Art and literature were my spiritual retreats.Painting in particular, and making things in general, gave me an intense sense of limitless possibilities and instilled optimism for the future - almost like a powerful antidote to the noise and vulnerability of my childhood. I was always surrounded by "materials" - fabric, wood, pencils, glue. My mother was a master of improvisation."If you can't buy it, make it yourself". Needless to say, financial resources were limited. With this "can do" attitude, I even made my first "high heels" out of blocks of wood and socks, which I proudly wore around the house.

Julia: That's a wonderful example of creativity and how it translates into resilience. How did your relationship to art develop as you got older?

Imke: As a teenager, I spent my small budget on art magazines and books and postcards - especially of the Impressionists and the Worpswede artists' colony, whom I greatly admired. When I went to boarding school at 15, and later to university, my focus shifted. Writing, acting and singing became more important. But my love of painting remained - I spent a lot of time in galleries and exhibitions, always seeking to be close to artists.

Julia: Did you ever think about studying art?

Imke: I wanted to be financially independent and see the world, so studying art or acting seemed too risky. Instead, I studied German literature, history and politics. I was passionate about these subjects and thought they were a slightly safer choice for a future career. Despite my liberal arts background, I successfully made the leap into business, driven by curiosity and a desire to make a difference. I was immensely grateful to be given the chance to explore this new world. Compared to university, everything seemed more alive, more dynamic - more colourful. I immersed myself in the business world like an anthropologist, eagerly learning the new language, rules and codes of conduct.

Julia: That sounds like a difficult transition. Did your creativity suffer?

Imke: I didn't feel that way. I did end up in personnel and organisational development, leadership development and communications and later consulting. In these areas, creativity is definitely an asset. I was fascinated by the chaotic aspects, the internal conflicts, fears, doubts and the innovative power of disruption. How do you move from destruction to hope? How does transformation work? In my consulting work I don't create pictures, but transformation architectures and experience spaces that enable people to embrace disruption, to leave familiar territory behind and to courageously and confident co-create renewal processes.

to be continued in the next Blogarticle.

Continue interview