Armin Scheidt | Oleander Darling III
mixed media on canvas, 140 x 100 x 4,5 cm, 2021

Armin Scheid was born in Neuss, Germany in 1965. He received his artistic education at University of Dortmund and at Düsseldorf Academy of Fine Arts. In the early 1990s he was artistic assistant to renowned painter Prof. Norbert Tadeusz. Today he lives and works in Cologne. Scheid can look back on more than 60 individual, group and trade fair exhibitions. His work is represented by several art galleries in Germany. His works are part of private, corporate and institutional collections in Germany and abroad.

„Oleander Darlings“ Body of Work
I’ve always been fascinated by the combination of “Men and Flowers” respectively “Men and Plants”. On the one hand it counteracts the common notion that flowers are more likely to be attributed to women and on the other hand, it references to the still urging question of how to balance our relationship with nature as societies.

To speak frankly: The common opinion is that men should not be tender! Men are expected to defend and protect. A delicate physiognomy and tender behaviors – especially among men – are not only perceived as unmanly, but also as an imposition, as a threat to masculinity and are often aggressively persecuted and suppressed. But if we continue to interpret and to structure the world in this way, we will not approach substantially neither the issues of equality neither the climate crisis.

Humanity is so much more than just flight and fight modus, its caring for each other as individuals and as society.

The figuration is painted in glowing colours, broken up by the light and penetrated by the blue sky exactly there, where it’s brightest parts supposed to be.

Is it openness, fragility or even injury? Is it just a common sense depiction of beauty? Is it wholeness - despite of all the fragmentation going on? Is it fierceness, is it softness? Is it bound in nature or is it the exploitation of natural ressources? I guess It’s all in one and we have to be aware of the structures we‘re living in - and work on them!

I look at my “Oleander Darlings” as resonating instruments; like amplifiers of these urging questions while remaining playful. Despite all that self-determination they are carried by a tender kindness for our vulnerability and for our imperfection and maybe therefore they are able to touch us.