The subjects in Jochen Hein’s (*1960 Husum, DE) paintings are familiar to the viewer’s eye: oceans, park-, wood- and grasslands, and humans. Hein is interested in the "visible in the world", in particular in the "perception of surfaces" and their dependence on the incidence of light. In order to create this particular effect in his paintings, Hein has developed special techniques. For the gleaming light reflections in his ocean paintings he squirts, with dynamic arm movements, white color onto the canvas that lays in front of him. The exact placement of these "light dots" is therefore withdrawn from the artistic process. "Accidents are the most valuable mutations." For Hein this is the only way to paint nature.
The viewer is not only attracted by the subjects and style of the paintings, but is particularly fascinated by the illusionistic effect and by the abstract appearance at the same time.
Jochen Hein’s paintings deceive the viewer’s eye by showing from a distance an apparent detail of reality. But if the viewer, attracted by the detailed painting technique, gets closer to the canvas, he finds himself irritated by the abstract surface. This "tension between expectation and reality", which originates from the "tension between the spatial effect of the images from a distance" and its "trivial material quality", interests the artist. According to Jochen Hein, human perception and its cognitive ability only allow "a superficial idea of the world". Hein wants to show, that "humans do not realize what they see: even the illusion is an illusion."
Over the last years Jochen Hein had museum exhibitions in Hamburg (Museum Hamburg), Neunkirchen (Städtische Galerie Neunkirchen), Göppingen (Kunstverein Göppingen) and Föhr (Museum Kunst der Westküste). In 2016 Boyens published "Über die Tiefe", the second publication about the artist after "Jochen Hein. Human Nature" (Hatje Cantz, 2013).