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16 x 16 in ($187)
White Canvas
White ($150)
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Artist featured in a collection
„Hazy Borgafjörður “ Berlin 2019, Öl auf Leinwand, Ø 130 cm Iceland's first large glacier, the Okjökull, is dead. Okjökull, now actually only Ok, lost part of its name with the ice, as Jökull means “glacier” in Icelandic. A commemorative plaque was installed in the summer of 2019. Engraved is a message to future generations: »Ok is the first Icelandic glacier to lose its status as a glacier. In the next 200 years all our glaciers are expected to follow the same path. This monument is to acknowledge what is happening and what needs to be done. Only you know if we did it.« A polar reversal is underway, Iceland is losing twelve million tons of ice a year. Will Iceland be completely ice-free in 2200? And will the North turn into the South? Berlin artist Annette Goessel has felt drawn to Iceland for many years. It was there that the group of works Nach Norden, nach Norden! originated. Is it a paradox for urban fugitives to enjoy being subjected to the forces of nature? Nature dominates everything in Iceland—and indeed changes through the force of manmade climate change. “Beautiful” contradictions from which the idea arose to produce something small, something delicate in the large empty spaces of the landscape. Accompanied by a sound installation, the exhibition shows large-format paintings and small works on paper from the Icelandic lava fields. The artist understands them as a kind of archive of “lyrical agitations”, intended to prompt us to think and take action. One of the tondi is titled OK after the vanished Icelandic glacier. A circular painting, which Annette Goessel overpainted time and again. Rumblings beneath the surface. Landscape and painting are in motion.
Giclee on Canvas
16 W x 16 H x 1.25 D in
17.75 W x 17.75 H x 1.25 D in
White
White Canvas
Yes
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Germany
My name is Annette Goessel. I’m an abstract painter from Berlin, Germany. An E-mail conversation about glaciers, elves and “lyrical agitations”... between Annette Goessel and cultural journalist Kathrin Hondl. KH: You grew up in Lübeck, studied in Stuttgart and Vienna and have now been living in Berlin for a quite a while.What was it that brought you to Iceland a few years ago? AG: It was twelve years ago in Berlin that my family and I were invited by Icelandic friends to visit their country. We were lucky enough to have enjoyed a journey that was very particular, personal and adventurous. That was probably the reason Iceland became a “love at first sight” country for me and I became an “Icelandophile”. KH: Iceland is quite popular with many people as a tourist destination. What was it that interested you artistically? Why did you decide to work there? AG: It's true, there is plenty of tourism in Iceland by now. A lot is changing in the country. Nevertheless, there are still largely uninhabited landscapes. Color harmonies, structures, light direction, glacier formations, lava fields, snow, water, rock ... Back in my Berlin studio, the visible and invisible forces of nature had a lasting effect on me. When I was given the opportunity to work as an artist in residence in Kolsstaðir, I was right in the middle of this Nordic materiality. KH: How did these forces of nature, this Nordic materiality affect your painting? In the past you often used metallic colors – gold, copper, silver – in your paintings. Do the natural forces of Iceland have anything to do with their disappearance? AG: When I was working with metallic paints, I lived with different references and placed myself in a different context.The main theme was ornament, and I painted silver, copper, gold as representative colors par excellence, in geometric meanders. After my first visit to Iceland I painted two further large paintings with silver running down the canvas. Maybe these are “transitional images”.But then I deliberately distanced myself from this painterly system of unchanging formulations. I wanted to re-enter somewhere entirely different. Iceland was after all an exit from complexity, a quest for new painterly possibilities. KH: An exit from complexity? Does this beautiful wording also hint at a certain “back to nature”? AG: Or back to the beginning? Or resigned happiness?Historically, the glorification of the empty landscape is something relatively new.
Artist featured by Saatchi Art in a collection
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