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untitled, series 10000 rose pedals for Robert Schumann Artwork

Dagmar I Glausnitzer

Germany

Mixed Media, Found Objects on Other

Size: 61 W x 59.1 H x 3.9 D in

Ships in a Crate

SOLD
Originally listed for $2,370

76 Views

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ABOUT THE ARTWORK

The collection of rose pedals started in the mid 90's in London, where I glued rose predals onto the music notes by Robert Schumann, 2nd Symphony Op.61 C-Dur (1845 - 1846). These music note pages have been framed and sold as small material collages. During the pandemic times of 2020/21 I started to collect shards from the Bürger Park in Braunschweig Germany, where they might have been discarded and dumped after the second world war when Braunschweig has been heavily destroyed and wounded by the bombs. I drew an analogy from each collected shard to one selected rose pedal. The mixed media compositions on canvas became an ephemeral imprint of two different states of 'being' in the process of material decay coupled with the idea of resurrection. Several large size, fragile canvasses followed by assembling rose pedals according to their colors and shapes.

DETAILS AND DIMENSIONS
Mixed Media:

Found Objects on Other

Original:

One-of-a-kind Artwork

Size:

61 W x 59.1 H x 3.9 D in

SHIPPING AND RETURNS
Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

lives in Braunschweig, Germany Werftraum Atelier for Art and Performance Art works in Braunschweig, professional artist previous senior former lecturer in London introducing performance art workshops, realising transitstation, international exhibition as Event , London 2003, Berlin 2005, Edinburgh 2006 and transitstation Copenhagen in 2010, collaboration with the Royal Danish Academy. The work negotiates the incomprehensible complexity when being surrounded by objects of sensory stimulation, and the attempt of grasping attention to any one source can often be accomplished only with great difficulty. The studio space is Werftraum (ship yard) and is associated with translucent and imagined spaces in the mind. The reflection of these locations appears to place and reflect gathered and experienced objects. They become the instruments, which participate in the orchestration of unexpected tunes. The fine-tuning is a crucial process which tends to present the ambiguity and where the work begins and ends remains purposely unresolved thus the potential of change and transition continues to take place. With the accumulation of its particular parts, one is forced to combine and relate certain meanings and presuppositions only to find that the bigger picture is hardly suggested and it stays fleeting, escaping the desire to make sense as a defined whole. The question governs my work.

Artist Recognition
Artist featured in a collection

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