Gudrun Nielsen

Changes 2010

Greenham Business Park, the former Royal Air Force World War Two airbase, Berkshire
This is Changes by the Icelandic sculptor Gudrun Nielsen, a monumental piece that has just been unveiled at Greenham Common where US bombers used to land – you get the references just by looking at it. Since the Greenham Common women saw off the last of the Right Stuff in 1988 the trees have returned along with the birds and the rest of the flora and fauna, and the military buildings have either been demolished or converted by the Greenham Common Trust which now owns it. Nielsen won a competition along with the late Michael Kenny, but that was 12 years ago and while Kenny’s large geometric form, Broken Symmetry, was unveiled almost immediately by Ringo Starr (a Kenny fan and local resident), Gudrun’s was a little tardy in taking off, as it were............... 17.11.2010 / Simon Tait's Diary http://www.artsindustry.co.uk/features/simon-taits-diary/45

FACTSHEET:

Abmessungen : 155 cm x 200 cm x 2400 cm (Height, Width, Depth)
Gewicht : 5000 kg
Jahr : 2010
Material : Stahl, Beton, Mixed Media

Gudrun Nielsen

Gudrun Nielsen Reykjavík-based sculptor has spent most of her artistic career working in the UK. She has competed and exhibited at an international level and been granted many different awards for her art. Gudrun has exhibited extensively in solo and group exhibitions, e.g. Sweden, Germany and Italy.

Gudrun aligns herself with the kind of three-dimensional art which might be called a modernist-based formalism with minimalist or constructivist overtones. The ‘Japan factor’ should be seen in the context of the second aspect of Gudrun´s ‘style’, her enduring interest in clear and concise forms and proportions, and in qualities such as lightness and harmony, in short, everything that contributes to the optimum balance of elements within the work at hand as well as the environment without. These are qualities traditionally associated with the Japanese attitude to mass and space, as seen in the work of their most prominent architects. A fundamental aspect of this attitude is a certain spareness with regard to materials, which is also something that Gudrun subscribes to. Adalsteinn Ingolfsson.

The Barren wasteland series. It was in the summer of 2019 that I traced my father’s footsteps to the old trails of the barren wasteland west of Vatnajökull glacier in Iceland. We drove up to the Jökulheima cabin buildt 1955 at the foot of the glacier. It shocked me to find out that the glacier had retracted about 10 km and we could just get a glimpse of it in the distance from the cabin. In this area of barren wasteland, I took photographs without realising at the time what I would use them for. Soon after the trip I started to work on my photos and merged them with my dad’s old images taken up to 70 years apart in the area and on the glacier. I wanted to express with collage the known facts, that forces of nature are unpredictable and nowhere are the opposites as great as in this barren wasteland. Where the white glacier's edge has retreated and wide areas of black sand and wasteland appear. The Mountain Series 2014 – 2018 of recycled materials influenced Gudrun by working in her Reykjavík studio on the site of one of Iceland’s leading providers of environmental management services and clean energy. “Slow but constant changes in the immediate surroundings made the work happen naturally”, Gudrun stated.

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Changes 2010
Greenham Business Park, the former Royal Air Force World War Two airbase, Berkshire This is Changes by the Icelandic sculptor Gudrun Nielsen, a monumental piece that has just been unveiled at Greenham Common where US bombers used to land – you get the references just by looking at it. Since the Greenham Common women saw off the last of the Right Stuff in 1988 the trees have returned along with the birds and the rest of the flora and fauna, and the military buildings have either been demolished or converted by the Greenham Common Trust which now owns it. Nielsen won a competition along with the late Michael Kenny, but that was 12 years ago and while Kenny’s large geometric form, Broken Symmetry, was unveiled almost immediately by Ringo Starr (a Kenny fan and local resident), Gudrun’s was a little tardy in taking off, as it were............... 17.11.2010 / Simon Tait's Diary http://www.artsindustry.co.uk/features/simon-taits-diary/45
Gudrun Nielsen, Stahl, Beton
The match
La Folie des Folies (3) . Domaine de la Garenne-Lemot / Le Voyage à Nantes, Gétigné (France) Site: Grand Allée, Hippomedes and Atalanta (existing sculptures at the main entrance, part of the original park design) resin, div. paints and pigments, steel rope 2 vases, each 0.8 x ca. 0.5 x 0.5 m
Cornelia Konrads, Installation
Opfertisch
Gegenständliche Sandsteinskulptur im botanischen Garten Jeskyně Blanických rytířů in Rudka. Mezinárodní Vytvarné Symposium Kunštát.
Peter Berger, Stein
BRONZE SUN
Made from solid cast bronze on a square granite plinth.
Sophie Marsham, Bronze, Metall
Chalet n° 1
Iron and wood sculpture painted in red.
Alex López Vega, Metall
Kopf im Wind
Reduziert-figürliche Marmorskulptur.
Peter Berger, Marmor
Remains
Remains is started as a small series of works, where found plastics were placed onto wooden boards. Those boards where used as antler boards and serve now as a way to showcase remains from modern worlds. In my work I tend to connect different themes and materials. I am intrigued by the diversity and interconnectedness of our world today. How whatever we do today, no matter how small or big, affects others on an immediate and global scale.
Katharina Forster, Holz, Kunststoff
Columna barroca n° 3
iron rod and wood sculpture representing a barroque column.
Alex López Vega, Metall
Odyssey
46 carved wood figures , each 2.5 m tall. A travelling installation around Europe.
Robert Koenig, Holz, Mixed Media
Pontoon
Site: bank of the canal de Bourgogne / harbour of Migennes (France) wood, plastic containers, aluminiun
Cornelia Konrads, Installation
RADIATOR SHEEP
Photographed in the Highlands of Scotland, this sheep sculpture is life-sized and made from reclaimed objects.
Sophie Marsham, Mixed Media, Metall
Bee Banana
Bienen und Kunst, muß das sein? Baumstamm und Bienen, waren schon immer eine Einheit. Kunst und Banane gehen seit Thomas Baumgärtel auch gemeinsame Wege. Damit auch im Öffentlichen der Raum für Kunst wegweisend wird, hier die Banane, dreidimensional. Und die Bienen. Sie bestäuben ganz nebenbei das Umfeld; eine Befruchtung, die wir uns auch von der Kunst wünschen.
Apisculptor , Holz
The Kinks 02
The Kinks 02, a functional steppingstone sculpture allowing any desired ground cover to grow up through the concrete pieces. The Kinks sculptural steppingstone allows the user to create any pattern they desire. The off form concrete material is made up of 70% repurposed waste material from local heavy industries.
Harley, Beton, Beton
Geest - fliessende Steine
Landesmuseum für Natur und Mensch Oldenburg 2006
Michael Lukas, Mixed Media, Installation
The Kinks 01
The Kinks 01, a functional steppingstone sculpture allowing any desired ground cover to grow up through the concrete pieces. The Kinks sculptural steppingstone allows the user to create any pattern they desire. The off form concrete material is made up of 70% repurposed waste material from local heavy industries.
Harley, Beton, Beton
PEN TREE
Created for an event for the Adobe software company, made entirely from Bic biros.
Sophie Marsham, Mixed Media, Kunststoff
Maria mit Kind, Figurenbeute
'In Wahrheit war ich ein Bienenstock, als die hochgelobte Biene, der Sohn Gottes in meinem Schoße Einkehr fand' Offenbarung der Hl.Maria an meine Namenspatronin Birgitta von Schweden. So war es ein Muß, die Heilige Maria, auch als Bienenstock zu erstellen.
Apisculptor , Holz, Sonstige
Stay True
'Stay True' from the series 'Nomadic Vases'
Nicolet Boots, Gips
Casual
Klassisch, realistisch. Im Freizeitlook.
Marcel Börlin, Bronze
Wegmarken
Wegmarken Ute Deutz/Rainer Düvell Installation zur BUGA 2015 bei Böhne
Ute Deutz, Metall
PEN NIB SUN
Made from antique pen nibs cast in acrylic resin, suitable for inside of outside. Hangs from trees with stainless steel cables.
Sophie Marsham, Metall, Kunstharz
Genesis. Thought.
Project “Genesis. Dances with shadows” scrutinize feelings, mind, mental and physical, material. To Imagine. To Understand. To Feel. To See. My task is not only creation art images as a combination of different materials (included but not limited by glass, metal, wood and stone) but to understand what is the cornerstone of our consciousness, what is The Genesis? Thought. Imagination as basement, a freedom to think and to learn. The only first way to self cognition is Thought!
Grigorio Antipov, Kunststoff, Mixed Media
Ancient head.
A head made with wood pieces from a 3000 year old piece of black bog oak wood. The top is gold leaf.
Robert Koenig, Holz
Jim Panse
Jim Panse, in Wachs modelliert und in Bronze gegossen.
Jörg Engelhardt, Bronze, Metall
Sprießel
Eine überdimensionale Figur aus Eichenholz. Sie entspringt in einem Quadrat und entwickelt sich nach obenhin zur Figur, dem Chaos entfliehend.
Lukas Schmid, Holz, Holz
The way. Life and Death.
A mountain river as a simbol of infinite life. Two stones - two ways of existence. Wich way do you choose?!
Grigorio Antipov, Stein, Naturstoffe
Ohne Titel
Frei Arbeit aus der Reihe Blätter. In Privatbesitz.
Benjamin Schulte, Holz
Liveline
Abstrakte Frauenfigur, gefertigt aus Apfelholz
Lukas Schmid, Holz, Metall
Iron Lady
This work envelopes the female domestic chores that often fall into a woman’s lap...the invisible labor women carry
Michelle Gallagher, Ton, Keramik
Bird Lady
Seen from a low perspective, this woman figure shows herself in a confident pose.
Nicolet Boots, Gips, Textil
Dawiedort, eine Entscheidungshilfe / Thiswaythatway
Fichte verkohlt geölt / Pruce charred oiled Sockel Granit /socket granite
Andreas Mathes, Holz
Ohne Titel
Das größte Objekt aus der Reihe Blätter.
Benjamin Schulte, Holz, Papier
LOVE THY NEIGHBOUR
Männliche Figur, Lindenholz, Temperafarbe
Lukas Schmid, Holz, Metall
Clavia II
Jap. Schnurbaum geölt / Styphnolobium japonicum oiled
Andreas Mathes, Holz
Dried Poppy
Abstrakte Mohnkapsel, Eiche+Stahl Privatbesitz
Lukas Schmid, Holz, Metall
Charons Boot (Schifffisch) Bronzeguss poliert (8 Ex.)
Charons Boot (Schifffisch) Bronzeguss p0liert (8 Ex.)
Regina Altorfer, Bronze, Bronze
Fern in mir
"Fern in mir", mein Beitrag zum Symposium "Remake" des Kunstvereins Ottobrunn
Wolfgang Sandt, Marmor
Auge II / Eye II
Kastanie, Feuer, Öl / chestnau, fire, oil
Andreas Mathes, Holz
Nest 1
Material: Bronze Weight: 0,6kg Year: 2015
Judith Mann, Bronze
Odyssey
32 carved and polychromed figures, each 2.5 m tall. Exhibited in Salisbury Cathedral, England.
Robert Koenig, Holz, Installation
Element Fire
flame- Fire - made from Oak wood
Markus Brinker, Holz
Bilston Totems
15 sweet chestnut trees up to 6 metres tall commemorating the steel industry in the town of Bilston in England. Handcarved.
Robert Koenig, Holz, Installation
Wind house
Private Commission, Reserva do Ibitipoca, Lima Duarte MG (Brazil) Site: pasture on a hillside Built in the way of typical local farmhouses using a traditional clay wall technique (“pau à pique”) Materials: wood, clay soil, straw, cow dung, cement, metal grid, rooftiles 3.4 x 2.8 x 6.5 m
Cornelia Konrads, Installation
FF 17 - Monument - Victim of Homosexual Persecution Sculpture
The important things first The rainbow colors of the monument are created by daylight alone, without electricity. Here the focus is on the colors projected by daylight, which always appear in a new light depending on the time of day and the weather. Depending on the nature of the background, the colors appear almost as clear as with colored glass windows, since the light is refracted. The brighter the ambient light, the more delicate the colors appear. The darker it gets, the brighter they shine. Direct light depicts the object as a colored shadow, indirect light allows the colors to run smoothly. Daylight hits the white background and from there is thrown onto the painted back of the strips in front, projecting the color onto the white background and making it visible to the viewer. This effect works from sunrise to sunset. Idea The consideration before finding the form was whether a classic monument, for example with a base and a top part cast in bronze, would still trigger the desired reactions in today's viewers or whether it would not be better to go in a different, more contemporary direction. I tried the latter with this design. Experience has shown that you are more concerned with something if it is not obvious at first glance and you have to conquer it of your own accord (almost like in love). What only becomes apparent at second and third glance stays with you longer. To do this, however, the viewer's attention must first be demanded. In this case with the unusual shape, the bold construction and the bright colors. Curious, our passer-by finds the inscription on the back, the subject of which he will try to connect with the individual parts and overall picture of the monument when he looks at it again. Appearance In order not to limit the topic to the sad historical event and to transport it to the "here & now", I decided to make the monument appear self-confident and, in the case of the brilliant rainbow colors, almost cheerful. The horizontal band (B,C) literally and figuratively accompanies passers-by a part of their way - by the way, at eye level! _________________________________ Das Wichtigste zuerst Die Regenbogenfarben des Monuments entstehen alleine durch Tageslicht, ohne Strom. Hier richtet sich der Focus auf die durch das Tageslicht projizierten Farben, welche durch Tageszeit und Wetterlage immer in neuem Licht erscheinen. Je nach Beschaffenheit des Hintergrundes erscheinen die Farben fast so klar wie bei färbigen Glasfenstern, da es sich um gebrochenes Licht handelt. Je heller das Umgebungslicht ist, desto zarter erscheinen die Farben. Je dünkler es wird, desto kräftiger leuchten sie. Direktes Licht bildet das Objekt als färbigen Schatten ab, indirektes Licht läßt die Farben zart verlaufen. Das Tageslicht trifft auf den Hintergrund B und wird von dort auf die bemalte Rückseite der vorgelagerten Streifen C geworfen, wodurch die Farbe an die Fläche B projiziert und für den Betrachter sichtbar wird. Dieser Effekt funktioniert von Sonnenaufgang bis Sonnenuntergang.
 Idee Die der Formfindung vorausgegangene Überlegung war, ob ein klassisches Monument zB mit Sockel und in Bronze gegossenem Aufsatz beim heutigen Betrachter noch die gewünschten Reaktionen auslösen würde oder ob es nicht besser wäre andere, zeitgenössische Wege zugehen. Letzteres habe ich mit diesem Entwurf versucht. Erfahrungsgemäß beschäftigt man sich mit einer Sache mehr, wenn sie sich nicht gleich plakativ und vordergründig auf den ersten Blick zu erkennen gibt und man sie sich aus eigenem Antrieb erobern muß (beinahe so wie in der Liebe). Was sich erst auf dem zweiten und dritten Blick erschließt, bleibt länger hängen. Dazu muß allerdings erst die Aufmerksamkeit des Betrachters erheischt werden. In diesem Fall mit der ungewöhnlichen Form, der kühnen Konstruktion und den leuchtenden Farben. Neugierig geworden, findet unser Passant auf der Rückseite die Inschrift, deren Thematik er beim nochmaligen Betrachten des Monuments mit dessen Einzelteilen und Gesamtbild versuchen wird in Verbindung zu bringen. Erscheinungsbild Um das Thema nicht nur auf das traurige historische Ereignis zu beschränken und es ins “Hier & Heute” zu transportieren, habe ich mich für ein selbstbewusstes und im Falle der brillanten Regenbogenfarben für ein fast heiteres Auftreten des Monuments entschlossen. Das horizontale Band (B,C) begleitet dabei im wörtlichen wie im übertragenem Sinne die Passanten ein Stück weit ihres Weges - übrigens auf gleicher Augenhöhe!
Alexander Lorenz, Metall, Installation
Ich gebe dir ZUKUNFT
Die Geste des Gebens ist für eine Bäckerei täglich Brot. Zur 60-Jahrfeier von Fischer Brot wurde ein Museum eingerichtet. Am Ende des Museums ist eine Hand mit Touchscreen installiert. Hier sieht man das Heute und die Visionen und Pläne für Morgen. Also "Ich gebe Dir Zukunft" . 420 Cr-Ni Buchstaben aus dem Firmennamen FISCHER BROT formen eine Hand die aus der Decke kommt und 1 Meter über dem Boden schwebt. Durch die Auflösung der Oberfläche in Buchstaben wird die Skulptur leicht und fügt sich elegant in die Eingangshalle ein. Im Inneren der Hand ist eine indirekte Beleuchtung eingelassen, dies unterstützt die Illusion der schwebenden Hand otimal.
Konrad Feichtinger, Metall, Mixed Media
Rooting Garden
Cahors Juin Jardins, Cahors (France) Site: public park in the old town of Cahors, former herb garden of a monastery . Extension of a line of flowerbeds Materials: iron fence, roots, earth, plants 2.3 x 2.3 x 0.8 m
Cornelia Konrads, Installation
Hostage.
Holzskulptur aus Eiche. Auseinandersetzung: Zuweilen wird die Welt ganz klein, als ob man unter einer Glocke lebt. Die eigenen Gedanken, die eigenen Gefühle, drücken einen zu Boden, umzingeln einen. Werden urplötzlich zu Gefahr, ketten einen, machen einen klein, machen einen niedrig.​ Und die Frage, die sich nun stellt: ​Was ist es das uns aus dem Kerker, aus unserem eigenen Panzer, zu befreien vermag.
Sabrina Ferwagner, Holz
Seele des Baumes
Ein gesamter Baum wurde zerteilt und in einem leeren Becken installiert,
Frank Nordiek, Holz
Starke Schulter / Strong Shoulder
Andreas Rimpel / Ton / kubistische Skulptur
Andreas Rimpel, Ton, Bronze
Mother and Child
Optics and pattern combined with figurative exploration
Owen Johnson, Glas, Glas
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