"when i travel, it seems i am dreaming,
 and when i am dreaming, apparently i am travelling."

"As an artist you work in a labyrinth. You have to find your way through countless external influences," says Georg Hadeler. In his lithographs the maze is a recurrent theme for interpreting thought processes and dreams, the stairs in his glowing imaginative works not infrequently come to a dead end or mask hidden rooms.
These are lucid metaphors in pictures that have a mystical atmosphere and which pose questions about life and man's place in it. "Life is a labyrinth and so the symbol has always been very inspiring for artists."
Various mystical worlds converge in Georg Hadeler's lithographs, drawings and paintings: the worlds of many cultures, as well as the worlds of reason and of dreams and the worlds of philosophy and psychology.
The staircases, Pagodas and other structures that re-occur in his work are a reminder of his interest in Peru and Japan. The mysticism, ritual and ceremony that still occupy a prominent place in the everyday life of these peoples are a particular inspiration.
He has spent a lot of time in Peru, the birthplace of his wife, Gloria.

"I am very interested in the Inca culture. My wife and I once picnicked in the ruins of Machu Pichu. We were totally alone. Nowadays this ancient Inca city is a great tourist attraction, but it's still a special place.
Machu Pichu lies at a height of 3,000 meters the city is an astonishing feat of architecture. You experience something there that gives you goose bumps. There's a mystical atmosphere, something you can't capture in a photograph. Is it something you can capture in art? I don't know but I try".
It was from Machu Pichu that the inspiration came for his use of shapes and colour. "Look at all those stairs, for instance. You go somewhere but you don't know where you'll end up. When I make a litho, it's actually the same process. I start off with a particular shape and see where it gets to. Stairs fascinate me. Japanese temples often have stairs that lead to secret rooms."
In Japan Georg Hadeler is highly regarded. He has already held 12 exhibitions there. He has been a guest lecturer in Japan and Peru.

Hadeler is an expert in lithography. He lectures at the Free Academy and the Royal Academy of Art in The Hague. He is a skilled craftsman who greatly loves the nature of craftsmanship in his work. This passion is shared by Japan.
"Interest in lithography is tending to decline in Europe, but in Japan people are buying litho presses again. I've given workshops there and one of the things I tell my students is that every stone smells different.
If you get me to grind a stone blindfolded, I can smell immediately what kind of stone it is. A hard stone smells different to a soft stone. This strikes a chord with Japan: it ties in with Zen Buddhism, where smelling and feeling are very important. Japanese artists respect their materials; they approach their work like a ritual. I find that very appealing.

Hadeler loves craftsmanship. "I'm one of the old guard. But making a litho is a lot of work. Sometimes ten printing runs are needed, and this takes me a month.
It is quite unimaginable in an age of computers and digital technology. If I could be a young man again, I would want to do something in archaeology. In Peru there are still many pyramids buried beneath the soil, waiting to be excavated."
There are definitely similarities between his work and archaeologists' work. Georg Hadeler excavates the mind. In his intriguing lithos he depicts thought processes. Archetypical figures of people are placed in swirling but rustic images in which personal development, dreaming and meditation seek equilibrium in form and colour. Modest as he is, Hadeler does not use such terms himself to describe his work; he does not wish to make a pretentious impression. "Essentially, a litho or painting must evoke interest so that you can constantly discover new things in it."

Intriguing lithographs reveal thought processes
By Erik Quint