VIEW IN MY ROOM
Sculpture, Clay on Stone
Size: 6.7 W x 30.7 H x 5.9 D in
Ships in a Box
Artist featured in a collection
PUPAE,GLOW-WORMS AND ALL THOSE BEAUTIFUL BEINGS 2012 Material: patinated terracotta, brass rods, granite This particular terracotta miniature( the figure itself is about 15 x 10 x 5cm big) is hovering on brass “stem” and is anchored in a small granite block. This particular" Pupae", as I call them all, shortly, is an exception among other "Pupae" miniatures.It's not painted black as I usually do with my sculptures(painting my terracotta sculptures black has almost become my characteristic and I do it since I have travelled to Africa after my graduation in 1986. Maybe all this carved African statues made out of ebony influenced me, that I started to paint them black- as if I wanted to cover the clay's natural colour and warmth?)Also, most of my figurative sculptures of that time have very distinctive,clearly seen geometric forms, one could say cubist.Additionally, some bodily parts are distort. The large body of work with title “Pupae, Glow-worms and all Those Beautiful Beings” has started to evolve as far as in 1997. Through all this time it has been through many changes-as this is also the key idea of this work: Metamorphosis - one form changing into another… not only external changes but most of all, internal ones! Mystic creatures, half insects-half humans caught on their transitional journey to yet another (maybe human?) form. They appear to be in state of latent (sexual)consciousness and realization. At the beginning I was more focused on the body itself- faces were very abstract and unified and only later I started to make more detailed faces with different expressions,even.Usually they are painted black , but patinated with light pigments, so that they really tend to look like made of ebony or even bronze! at the beginning I was anchoring them in huge river stones, which were carefully chosen for each figurine ..so, that the base was much larger then the sculpture itself.I wanted to point out that base(the stone) and the figurine were equally important for the whole sculptural-structure! Later I was replacing river stones with terracotta, dome-like, black painted shapes . At the exhibitions I usually represent them in this manner, because dome-like bases function more unified. Which is desired sometimes, depending on space. Usually I create installations - large groups of this small hovering figurines, like a little"forest" and they come on different high stems.... I will add an example on additional photos, so one can get a better idea... however, these sculptures are not recommended for people with small children if they are not kept out of children's reach! because they are on stems and are hoovering and swinging and can be damaged if they hit something. Optional I can also cast them in bronze and can be perfect sculpture for the outdoor/garden! In that case more thick and stainless steal rod is required.
Sculpture:Clay on Stone
Size:6.7 W x 30.7 H x 5.9 D in
Ready to Hang:Not applicable
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
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
Thousands Of Five-Star Reviews
We deliver world-class customer service to all of our art buyers.
Explore an unparalleled artwork selection by artists from around the world.
Our 14-day satisfaction guarantee allows you to buy with confidence.
Support An Artist With Every Purchase
We pay our artists more on every sale than other galleries.
Need More Help?