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Lost in the woods III - Limited Edition of 10 Photograph

Tina Numberger

Germany

Photography, Photo on Paper

Size: 16.5 W x 23.3 H x 0.1 D in

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$175

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About The Artwork

Each print is numbered and signed by hand! During the creation of the cycle Lost in the Woods, my path led me to an intensive study of different structures and their representation through photographic and other artistic techniques. This leads me further and further into abstraction. I start with photos that I have taken myself. I am particularly interested in the detail and thus the microsphere of the forest. I’m attracted by amorphous structures that have a certain imperfection. I use digital and analogue shadow drawing to dissect, alienate and collage these photographic motifs. The process of photographing and reorganizing the resulting images is very lengthy and requires a lot of care. The results are meant to invite contemplative pausing and to captivate with their clear depth effect. The supposedly romantic view opens up a wide field of associations for the viewer. He recognizes the familiar, mixed with his own feelings and memories. In the end, however, they have to realize that what they thought they were seeing is quite different.

Details & Dimensions

Photography:Photo on Paper

Artist Produced Limited Edition of:10

Size:16.5 W x 23.3 H x 0.1 D in

Shipping & Returns

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

born in Ludwigshafen Rhine/Germany lives near Karlsruhe/Rhineland-Palatine/Germany My artistic theme is and has always been nature. It fascinates me as an artist by its originality, and also by its diversity. As for the artists of the Romantic period, the nature surrounding me stands for the all-embracing being, gives me comfort and strength. Already during my studies of art I was enthusiastic about the viniculture in my home country. I wanted to portray the strict geometry with which the vines traverse the landscape. This is how I came to the linoleum printing technique, which is still my preferred printing technique today. In search of motifs, I often roam for hours through the forests of my homeland, collecting impressions, structures and special features. Then I return to my studio "charged" with impressions and process and vary them. The development of my theme - whether it is a print or painting - is characterized by the question of the level of abstraction versus space-creating methods. How many perspective lines are necessary to communicate an impression of space? Where is it sufficient to have one in front and one behind the other? And where do I have to intervene creatively to guide the eye. Which elements must the representation contain, and which colour spectrum must I access in order to take the viewer to my emotional level? Since two years now I am more and more occupied with digital drawing and painting. I would like to invite you to go this way with me.

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