Born in India and raised in Spain, Kauertz has a cosmopolitan perspective that is reflected in the diversity and depth of his artistic language. As a former student at Alanus University of Arts and Social Sciences and a master student of Prof. Andreas Orosz, he combines technical excellence with conceptual substance.

How would you describe the place where your paintings are created?

Noah: Well, as organized chaos, I think. Everything is a bit wild for me, but it's all very set up like a workplace—in a very small studio. It's located in the very north of Leipzig, a bit off the beaten track. It's a beautiful old studio building in a former cloth factory where many painters live. After graduating, I thought I was great at being alone and really enjoyed it. But I also realize how important exchange is. I was able to get to know myself and ask: What's missing? Creativity needs peace and quiet – but it also urgently needs exchange and a daily routine. Painting is not a relaxing bath with a bottle of wine, but rather: getting up, spending several hours in the studio, and repeating this the following day. Leisure time only happens in the studio. Making art or painting is not necessarily effective in an economic sense, at least for me. Creativity also needs detours to reach its destination.

Is there a particular moment in the creative process that you consider crucial?

Noah: For me, the beginning is definitely the best part. Everything is still open—I have this feeling that the decisive factors are laid down right at the start. I don't stand tensely in front of the blank canvas; I see endless possibilities. The further I progress, the more disappointments can arise as everything solidifies. But most of the time, the finished painting exceeds my expectations—and that's a great feeling.

“Painting isn't a relaxing bath with a bottle of wine. It's getting up, spending several hours in the studio, and then repeating this the following day.”

Are there themes or motifs that recur in your work, or do you simply absorb everything?

Noah: The more I experiment, the more I narrow my focus to specific themes—currently, it's spaces. My pictures often feature a figure, sometimes myself. But I often feel that they draw all the attention, so I like to blur the figure a little, make it less distinct. In my portrait in the red picture, for example, everything zooms out, while the color language remains present.

“It is precisely the fragmented, the temporal, that I experience as overwhelming – this gives rise to a desire for order in chaos within me.”

Your first exhibition featured a work that depicted the flow of time—like an arm movement that makes time visible. Do you still find time important?

Noah: Definitely. Time permeates everything. My style has changed over the years—it was also noticeable in my master's thesis: layers, overpainting, the creative process. I collect objects that influence me. Old masters, art history – these things inspire me deeply. I feel connected to this tradition-rich lineage, but at the same time I also want to create something new, something unbound. A transformation. I think it's precisely this fragmentation, this experience of time as overwhelming, that gives rise to my desire for order in chaos. At the same time, this mixture is also a driving force; it shapes my artistic attitude in the present.

Is there a special place where your works are displayed?

Noah: It's quite mundane, but I love it when my current works end up on loan at my mother's house. There they hang next to my childhood drawings. This contrast, this coexistence – it's like having a small museum at home. I am happy when pictures reach people who have accompanied me from the beginning. And I am even happier when someone says, “This picture belongs to me.” It's an indescribable feeling.

Thank you very much, Noah.

Recorded on August 23, 2025.

Artist biography and available works