Why he paints:
During his studies in Osnabrück he happened to hear a pianist playing the Moonsline-Sonata by Beethoven (presto agitato) behind a closed door in the Os. Castle. He was moved by the music and began to play the piano.

Also during his studies he came into contact with Modigliani`s pictures of women. He was touched by their mysterious beauty and simplicity. He loved them – he began to paint.

Did he want to become a great pianist, a great painter?
Not really, but he wanted to achieve the ability to get the deepest experience and feeling of his soul.

That`s why he plays the piano, that`s why he paints.

Why pastel-crayons:
He feels the medium pastel-crayons like especially cut out for him. He thinks a pastel-picture has a different form of expression to one in oil. But for him they are equal in value.

He has succeeded in finding a way to avoid the decrease of colours after using fixation.
That is, the originally colours are kept in their originally freshness. By fixing the picture on fibreboard they are tightened and get a softly shining glamour. The pictures do not need glass.

How he paints:
The idea of the picture is not given in advance. He finds it by playing it out. In the process of painting with the many occurring esthetic but also ethic decisions he tries to find his very heart in the sense of an inner purification of the material items. He knows about the fascination of the presentation of estranged worlds and abysses, the fascination of the grotesque, the infernal etc.

This world is inside him, too. Sometimes it threatens, suddenly attacks him.

But he wants to follow more the intuitions of love and the presentiments of longing and yearning, because they focus the core of our existence and make our lives senseful.

Surrealism is for him an expression of dematerialized supernatural love, but not of the ferlorn absurd and senseless world.

For the better understanding of his pictures:
His pictures are not a copy of the nature. They are mental structures, projections. So the representation of a woman is merely an organism that reflects the psychic an esthetic reality and thus is released from nature like heaviness.

The face is nearly always in the centre. The eyes, mostly closed or intensively , often show an oversubscription in their direction. They are less an optic organ, but the expression of an inner emotional status. They are inner perception and outward message at the same time: It`s the same with the large zone above the eyes, that enables inner rooms and process to be realized outwards

He does not want to go into details about the voluptuous lips in his pictures. The viewers are to feel out for themselves. He believes that the touch of erotic in his pictures refers to the soul.

He loves the long-led lines as an expression of his own inner freedom.

A retired art professor from Nepal who moved many Eing´s pictures near the Indian art said about his lines they were like music.

He finds it somehow peculiar, that none of the future viewers will own the painter´s psychic reality and thus the picture always meets strange realities and remains inaccessible to many. It seems amazing to him that there are people who seem to get more satisfaction out of his pictures than he does himself. It makes him happy to realize the existence of conformity in this wonderful variety.