VIEW IN MY ROOM
Installation, New Media on Other
Size: 78.7 W x 78.7 H x 1.6 D in
Artist featured in a collection
AUSTRALIAN DREAM, 2016 ( until july 23rd), site specific installation at Anker Brotfabrik exhibition space in Wienna (Austria) material/medum: white, light and dark brown sugar on mirror AUSTRALIAN DREAM is a reilef image made of white, light brown ( demerara) and dark brown ( mascavo) sugar on the mirror surface.The image depicts Sydney opera house, one of the most famous Australian icons made by white men in Australia. The image of the opera is combined with other Australian icons- the flora and fauna- like eucalypt blossoms, banksias,wattle blossoms, koalas or kangaroos….which were all there before white colonialists- and create a frame around the central image. Want to look like this kitchy, old-fashioned post cards! The work rather literally represents depitction of the sweet, illusive, better life that should be found in a far, promised land ,»Down Under«! But this plane directness has many layers:The sugar and the mirror, as the main materials allude also to the cocaine addicts who are constantly on the run from the reality.It's not only about illusion but also about self-reflection(we can see ourselves in between the sugar piles) However, the relief-drawing from this »bulky, »flowing« material has more to tell:it tells us about sugar as the secret killer of the Aboriginal population which is extremely vulnerable to this introduced food.(Others are: salt, white flour and grog) Similar like »mandalas« made by Tibetan monks, this work is a true "exercise" on patience but also teaches us about impermanence, were only one incautious gesture can mean the destruction. May there also be a more positive symbolic to it: sugar alludes to sand in which the Aborigines are drawing their Dream-time stories and (still) teach us about their amazing culture. This work is hommage to Aboriginal and Whitefeller cultural attempts to create a better Australia. As for me: making it, it's a challenge each time but also meditation... and it takes me approximately 15 hours to finish it. Until now it was made twice and of course each time is a bit different ( this time I added Kangaroo and I used more of brown sugar, trying to get more shadows)….: first time it was made in a little church in Krško (Slovenia ) and this year (2016) in Wiena for the international exhibition called »Melange Expanded«(Anker Brotfabrik)
Installation:New Media on Other
Size:78.7 W x 78.7 H x 1.6 D in
Ready to Hang:No
I'm interested in many things and I'm on the constant search of new ways to share my thoughts in the visual language, but also stories, universal human issues, issues concerning women and many more…. Therefore I'm also changing materials and forms in order to express this things! I think I don't have a particular style, because everything is subordinated. to the subject I'm interested in. I tend to shell the majority of »feeling« from the material itself. I use a huge range of materials:from classic sculpting materials (predominately clay, stone, glass bronze) to more contemporary ones, like plastic, fibre, felt, found objects, liquid….. to non-material mediums ( video., sound or animation). If I feel vulnerable I might choose felt to work with ( for "protection"), next time,if I feel like »falling to pieces«, I might decide to make sculptures made of multiple pieces that need to be assembled, or when I'm happy and content, I choose clay or metal, to show how strong I'm feeling…. So, there's clearly lndirect physical evidence of my mood/state on material itself!! I'd divide my work on two main complexes: The intimate (smallish) one and the public / large one. In the past I was interested in figure but also the fragments of the human body like hands, legs, bellybuttons, ears….although I don't work very much on figure nowadays I still return back to it now and then, because it's somehow the eternal source…. as it's for material:clay! I'm particularly interested in space, so I often work on site-specific installations. I love to work in remote places somewhere in the nature. For me it's more important the place , where I work, then how many people will actually see this work at the end…. That counts predominately for the public concept. When I work In small scale , the surrounding space is less important – although,it's never totally excluded- there I put a lot of emphasis on detail. I deal a lot with symbols and surrealistic visual language sometimes my art is very minimal, but sometimes rich in form and colour…There was time when I was quite influenced by Magritte, but also Cubism( after my travel to Africa in eighties) and Brancusi. In time of study also new English sculpture had huge influence on me , like Deacon, Kapoor, Woodrow, Caro , Cragg and many others from that generation! My art usually refers to ( personal) past events or premonition of the future or has critical, even sarcastic note to the modern society.
Artist featured by Saatchi Art in a collection
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