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When I was living as a no-car-cyclist in the countryside riding around was all about sending out visual beams for stories and places. Working like this has an ephemeral touch with it. It's always like you have to keep going to get the kids from school or food or be in time for a meeting. A drawing had to be done in what seemed seconds to me. By this I learned to take just pencil-notes and breath in the feel of the place, getting feed stock for long night sessions in the studio, world and family deeply sleeping . This work is about stopping short for a winter scene, windy, snowy but flowers out already—and the night creating it. Carried out on strong, charcoal-grey paper, the work comes with a passe-partout imperfectly cut by the author himself. From a former gallery hanging, the artwork has a narrow acid free tape around the rim of its back-side. It could be removed by professional conservators but it somehow belongs to history and charm of the work. It's the artist's decision to leave it as beautiful as it is.
When I was living as a no-car-cyclist in the countryside riding around was all about sending out visual beams for stories and places. Working like this has an ephemeral touch with it. It's always like you have to keep going to get the kids from school or food or be in time for a meeting. A drawing had to be done in what seemed seconds to me. By this I learned to take just pencil-notes and breath in the feel of the place, getting feed stock for long night sessions in the studio, world and family deeply sleeping . This work is about stopping short for a winter scene, windy, snowy but flowers out already—and the night creating it. Carried out on strong, charcoal-grey paper, the work comes with a passe-partout imperfectly cut by the author himself. From a former gallery hanging, the artwork has a narrow acid free tape around the rim of its back-side. It could be removed by professional conservators but it somehow belongs to history and charm of the work. It's the artist's decision to leave it as beautiful as it is.
When I was living as a no-car-cyclist in the countryside riding around was all about sending out visual beams for stories and places. Working like this has an ephemeral touch with it. It's always like you have to keep going to get the kids from school or food or be in time for a meeting. A drawing had to be done in what seemed seconds to me. By this I learned to take just pencil-notes and breath in the feel of the place, getting feed stock for long night sessions in the studio, world and family deeply sleeping . This work is about stopping short for a winter scene, windy, snowy but flowers out already—and the night creating it. Carried out on strong, charcoal-grey paper, the work comes with a passe-partout imperfectly cut by the author himself. From a former gallery hanging, the artwork has a narrow acid free tape around the rim of its back-side. It could be removed by professional conservators but it somehow belongs to history and charm of the work. It's the artist's decision to leave it as beautiful as it is.
When I was living as a no-car-cyclist in the countryside riding around was all about sending out visual beams for stories and places. Working like this has an ephemeral touch with it. It's always like you have to keep going to get the kids from school or food or be in time for a meeting. A drawing had to be done in what seemed seconds to me. By this I learned to take just pencil-notes and breath in the feel of the place, getting feed stock for long night sessions in the studio, world and family deeply sleeping . This work is about stopping short for a winter scene, windy, snowy but flowers out already—and the night creating it. Carried out on strong, charcoal-grey paper, the work comes with a passe-partout imperfectly cut by the author himself. From a former gallery hanging, the artwork has a narrow acid free tape around the rim of its back-side. It could be removed by professional conservators but it somehow belongs to history and charm of the work. It's the artist's decision to leave it as beautiful as it is.
When I was living as a no-car-cyclist in the countryside riding around was all about sending out visual beams for stories and places. Working like this has an ephemeral touch with it. It's always like you have to keep going to get the kids from school or food or be in time for a meeting. A drawing had to be done in what seemed seconds to me. By this I learned to take just pencil-notes and breath in the feel of the place, getting feed stock for long night sessions in the studio, world and family deeply sleeping . This work is about stopping short for a winter scene, windy, snowy but flowers out already—and the night creating it. Carried out on strong, charcoal-grey paper, the work comes with a passe-partout imperfectly cut by the author himself. From a former gallery hanging, the artwork has a narrow acid free tape around the rim of its back-side. It could be removed by professional conservators but it somehow belongs to history and charm of the work. It's the artist's decision to leave it as beautiful as it is.
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Cyclist's Winter World Drawing

Christian Kabuß

Germany

Drawing, Chalk on Paper

Size: 31.1 W x 21.3 H x 0 D in

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About The Artwork

When I was living as a no-car-cyclist in the countryside riding around was all about sending out visual beams for stories and places. Working like this has an ephemeral touch with it. It's always like you have to keep going to get the kids from school or food or be in time for a meeting. A drawing had to be done in what seemed seconds to me. By this I learned to take just pencil-notes and breath in the feel of the place, getting feed stock for long night sessions in the studio, world and family deeply sleeping . This work is about stopping short for a winter scene, windy, snowy but flowers out already—and the night creating it. Carried out on strong, charcoal-grey paper, the work comes with a passe-partout imperfectly cut by the author himself. From a former gallery hanging, the artwork has a narrow acid free tape around the rim of its back-side. It could be removed by professional conservators but it somehow belongs to history and charm of the work. It's the artist's decision to leave it as beautiful as it is.

Details & Dimensions

Drawing:Chalk on Paper

Original:One-of-a-kind Artwork

Size:31.1 W x 21.3 H x 0 D in

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Christian Kabuß is an internationally established German artist and musician. He studied Medicine at the University of Rostock, then went on to Kunsthochschule Berlin-Weißensee, Accademia di Belle Arti di Venezia and Moholy-Nagy University of Arts and Design Budapest to practice Fine Art. The artistic language within his paintings is deeply linked to a phenomenological approach to bodiliness, the freedom of subconscious artistic creation, and the theoretical and practical considerations of Design. Kabuß has exhibited in Germany and abroad. His works are present in regional, national and international collections. It is his aim to work as honest as possible, and he tends towards imagery, which is embedded in Lebenswelt, and sound. As a pianist, he performs small intimate concerts. His music is soft, sometimes freely improvised and portrays a sense of a parallel-world. Exhibitions in Italy, Sweden, Germany, and China, where 柯布斯 is his name.

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