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In this episode of WAS MIT KUNST, Johann König meets Rasmus Eckhardt, an artist whose pastel works radiate with the glow of memory, emotion, and nocturnal experience. Known for his fragile materials—dry pastels, chalk, and sandpaper—Eckhardt works in a space between drawing and painting, refusing to be defined by either term.
Eckhardt shares how his life is “a research study for painting,” where anything—a feeling, a mood, a sentence from a waiter—can spark a work, as long as it carries emotion. He talks about his fascination with light, a theme that is evident in the pieces exhibited in his solo exhibition at KÖNIG TELEGRAPHENAMT.
The conversation moves through his late artistic beginning in his twenties, his relentless applications to art academies, and how these became challenges that sharpened his discipline and transformed his approach. He describes seeing himself as a new kind of impressionist, an outsider chasing fleeting atmospheres.
They discuss how he creates his signature luminous glow, why fragility is central to his materials, and how his technique blurs the line between waking and dream—between what is remembered and what slips away.
A conversation about longing, light, rejection, devotion, and the mysterious intensity of Berlin at night.
More about the ARTIST
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77 ratings
In this episode of WAS MIT KUNST, Johann König meets Rasmus Eckhardt, an artist whose pastel works radiate with the glow of memory, emotion, and nocturnal experience. Known for his fragile materials—dry pastels, chalk, and sandpaper—Eckhardt works in a space between drawing and painting, refusing to be defined by either term.
Eckhardt shares how his life is “a research study for painting,” where anything—a feeling, a mood, a sentence from a waiter—can spark a work, as long as it carries emotion. He talks about his fascination with light, a theme that is evident in the pieces exhibited in his solo exhibition at KÖNIG TELEGRAPHENAMT.
The conversation moves through his late artistic beginning in his twenties, his relentless applications to art academies, and how these became challenges that sharpened his discipline and transformed his approach. He describes seeing himself as a new kind of impressionist, an outsider chasing fleeting atmospheres.
They discuss how he creates his signature luminous glow, why fragility is central to his materials, and how his technique blurs the line between waking and dream—between what is remembered and what slips away.
A conversation about longing, light, rejection, devotion, and the mysterious intensity of Berlin at night.
More about the ARTIST

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