Ursula-Maren Fitz

Cornu II

Kristall- und Farbglas frei geformt, partiell geschliffen und poliert

FACTSHEET:

Abmessungen : 12 cm x 34 cm x 12 cm (Height, Width, Depth)
Gewicht : 4 kg
Jahr : 2018
Material : Glas, Installation, Licht
Stil : abstrakt, zeitgenössisch
SIE KÖNNEN
DIESE SKULPTUR
ERWERBEN

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Unrevealedness: Industry of Creativity
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Alexandra Bremers, Bronze, Metall
No Man Land
The figures depicted as protagonists of situations in everyday life enable me to draw attention to the current social situation, to the position of people in society, to their loneliness. Ethical elements in my works aim to teach and simply illustrate extraordinary situations arising from the essence of human existence. This series focuses on the man. The problems he encounters on his journey through life, which determine his value system.
Miroslav Trubač, Holz, Gips
torso animal
Diese Arbeit entstand aus der Verknüpfung der Idee der "animalen Formen" und dem Konzept "Interface". Dieses Stück war die Grundlage für weitere, ähnliche Arbeiten.
Daniel Priese, Stein
Defence
The work "Defence" exists of vertebras forming a closed circle. It is the evolution of the human spine into a non-flexible backbone. It should be inevitable if the human race continues in the direction it is going. What kind of creature could live with this kind of spine is left to the imagination. It could be the last configuration before extinction.
Harry Schumacher, Mixed Media, Holz
Awareness
Three times the same muscle structure, two up and one upside down. Tough becomes vulnerable. The triptych is connected by wires. For the Kunstschouw the prices are reduced.
Harry Schumacher, Mixed Media, Kunstharz
Composure
A pillow is stuck in a branch, the features of a face appear like the pillow is suffocating someone. Maybe the extinction of mankind would mean the survival of the planet.
Harry Schumacher, Holz, Textil
Education
This work exists of a blackboard taken out of context. The void in the frame of the blackboard is fixed in an amateuristic way, providing some stability for now. The sentence “Have we not learned anything yet” stands for making the same mistakes, over and over. Short term solutions and the lack of a long term vision. The branch needs blood by transfusion to survive.
Harry Schumacher, Holz, Mixed Media
Against All Odds
For the sculpture garden Ravesteyn a site specific work has been made. In memory of all the perished refugees at see a work about the dangerous journey. For a lot of people it is not a choice, but a way of survival. The work exists of a small boat with a proportional huge figurehead to enforce a save journey. No woodcarving but an original tree to hold on to life itself. The boat is connected with the tree by bandages, with fists as a variation on the Hamsa (protection) with Nazar (evil eye). The Hamsa are not suited for the weather influences and will drown.
Harry Schumacher, Holz, Installation
Content
The branch is just a hollow shell. On the back a structure wraps around it. Something can be added to acquire content.
Harry Schumacher, Holz, Mixed Media
Riverdelta
Harry Schumacher was invited for a symposium in Trstenice in the Czech Republic. The village stretches along a small, partly dry river in an oblong valley. The East/West trade route that should have gone through the village is the starting point of the artwork. In a graphic sense a trade route is the connection in two directions between two points. The work consists of two V-shaped riverdelta's like two turned away arrows, which only touch in one place. In a riverdelta the water searches its way from high to low. The liquid in the artwork flows against the current. The area is the center of water flowing in two opposite directions, to the Baltic Sea and to the Black Sea. The map forms the Czech Republic, still struggling between East and West. I choose to make the work of art on location and made every day the trip through the village with a trolley to get into contact with the people as a part of the artwork.
Harry Schumacher, Installation, Naturstoffe
'between intimacy and alienation'
About the work ‘Between intimacy and alienation’. The initial idea behind this work was to create sort of a performance, not a live one, but a static performance, in a way it is a combination of sculpture and theater, a performance in the form of an installation. By its nature, ‘between intimacy and alienation’ is both sculptural and theatrical, but nevertheless it remains static. once started the process I was in a need of looking, finding, re-defining to myself my ‘red-line’ (yes, later, translated into a transparent nylon wire ..) , how it all connects to one another. Along the way I got the urge, the need to re-arrange things to myself, to clarify, contextualize the work and the process too, the ways from A to Z, the way in which the idea develops. It means to discover where ‘things are laying ‘, as for me, having finished the work is somewhat like having reached the end. In fact, this work is a collection, a collage of thoughts, sketches and maquettes and video clips from various performances, derived from my body of works I call ‘body-sculpture’s’, which I began to develop in the mid eighty’s (1985-86 and onward…). I started this ‘collection’ once I began to develop my body-related works, constantly adding new materials which I brought into this process. This particular work (in very short…) existing and influenced by the human body, its movements, physic & mental, which is being presented in the form of dance performances (see DVD’s and website: www.noamben-jacov.nl ). When creating the performance I’m relating, enhancing the contact between ‘work’/object & human body and the space in between them as well as to the sound the ‘work’ makes. Many thoughts cross one another (concisely (?) or not….) along this way. As result of this search the steps I took become like a collection of ‘things on the move’, crossing from the one to the other, from down to up, from left to right …, emphasizing the interrelations and putting it all in a context of mutual relations. As to the title: ‘Between intimacy and alienation’, perhaps it is In 4 words the balance I’m looking for in all my works. I‘m searching to catch, to put all this process into ‘one large open box’, to show first and foremost to myself the connections between it all, and how one thing lead to the other. …..
noam ben-jacov, Installation, Performance
Human vs CNC
«Mit CNC (Computerized Numerical Control) können Werkzeugmaschinen per Elektronik gesteuert werden. Mit modernster Steuerungstechnik sind diese Maschinen in der Lage, Werkstücke mit höchster Präzision und komplexen Formen automatisch herzustellen. In Anlehnung an diese hochtechnologische Möglichkeit hat Daniel Züsli mehrere solcher Figuren erschaffen – aber natürlich ohne eine CNC-Maschine. Der Künstler hat aber gemäss der Vorgehensweise einer solchen Maschine gearbeitet und mit der Kettensäge und seinem Augenmass die Schnitte ausgeführt, die auch die Maschine vollziehen würde. Das Resultat ist ein Unikat, das von der durch den Menschen geschaffenen Unregelmässigkeit lebt. Trotz oder gerade wegen dieser Imperfektion strahlt die Figur eine grosse Eleganz und Charakter aus.» Christina Snopko
Daniel Züsli, Holz, Performance
Schöpferische Zerstörung
Ich arbeite beim Modellieren häufig mit dem Zerdrücken der zuvor modellierten Form. Jedes Mal wenn bei mir ein kreativer Prozess ins Stocken gerät, verstärkt sich dieser Wunsch des Zerdrückens. Aus dieser Situation heraus entstand eine neue Technik. Der Unikat Original Kunstdruck mit der verlorenen Form. Mit meinen Schöpferischen Zerstörungsarbeiten schaffe ich bevor eine neue Idee die alte zerstört ein Gedächtnis. So sind die Abdrücke Erinnerungen an eine Skulptur welche die Zerstörung hinterliess oder erhalten hat. Man erkennt Fingerabdrücke, Modellierspuren, Farbe die zerfliesst. Ein toller Mix zwischen Hoch- und Tiefdruck mit der verlorenen Form.
Daniel Züsli, Mixed Media, Performance
'between intimacy and alienation'(continuing..)
About the work ‘Between intimacy and alienation’. The initial idea behind this work was to create sort of a performance, not a live one, but a static performance, in a way it is a combination of sculpture and theatre, a performance in the form of an installation. By its nature, ‘between intimacy and alienation’ is both sculptural and theatrical, but nevertheless it remains static. once started the process I was in a need of looking, finding, re-defining to myself my ‘red-line’ (yes, later, translated into a transparent nylon wire ..) , how it all connects to one another. Along the way I got the urge, the need to re-arrange things to myself, to clarify, contextualize the work and the process too, the ways from A to Z, the way in which the idea develops. It means to discover where ‘things are laying ‘, as for me, having finished the work is somewhat like having reached the end. In fact, this work is a collection, a collage of thoughts, sketches and maquettes and video clips from various performances, derived from my body of works I call ‘body-sculpture’s’, which I began to develop in the mid eighty’s (1985-86 and onwards…). I started this ‘collection’ once I began to develop my body-related works, constantly adding new materials which I brought into this process. This particular work (in very short…) existing and influenced by the human body, its movements, physic & mental, which is being presented in the form of dance performances (see DVD’s and website: www.noamben-jacov.nl ). When creating the performance I’m relating, enhancing the contact between ‘work’/object & human body and the space in between them as well as to the sound the ‘work’ makes. Many thoughts cross one another (concisely (?) or not….) along this way. As result of this search the steps I took become like a collection of ‘things on the move’, crossing from the one to the other, from down to up, from left to right …, emphasizing the interrelations and putting it all in a context of mutual relations. As to the title: ‘Between intimacy and alienation’, perhaps it is In 4 words the balance I’m looking for in all my works. I‘m searching to catch, to put all this process into ‘one large open box’, to show first and foremost to myself the connections between it all, and how one thing lead to the other. …..
noam ben-jacov, Mixed Media, Naturstoffe
Morning stretching
12 Exemplare limitiert, nummeriert, signiert handpatiniert und handpoliert
Marcel Börlin, Bronze, Bronze
'atlas'-'dynamic body-sculpture'
I am fascinated by the simple… the daily small things in life. In general all my works are responding to a personal situations or events. Maybe… I am somehow the viewer and the participant at same time, on one hand the center of the unit, however, on the other hand, also the viewer, watching the ‘things‘ happening around… Noam Ben-jacov has been developing his ‘body related work’ (body-sculptures) for a bit more than 30 years. Creating the work I emphasizing on the mental, physic & movement, relating to the human body as the ‘motor’, the center’ buildings, creating the construction around, with and on the body, paying much attention to the overall contact between sculpture & human body as well as to the sound the ‘work’ makes and just naturally not forgetting the space surrounding it all, ‘enjoying’ the restrictions taking, incorporating them along into this moving sculptural unite. A unit where the human can define owns space ,room , saying space meaning the inside and outside space , a room where you can be in… caring it ,living in, thought of extension, sheltering with…in. I am strongly believe in very personal self-expression and wanting my work to be as associative as can be, or perhaps just letting the work to talk …to scream… preferably to sing…. .
noam ben-jacov, Sonstige, Performance
PRONO TOTEM
The sculpture was selected for the art prize “PREMIO ARTE 2018” Curated by Cairo Editore. Mention of honor and Exhibition between the 40 finalistis in 4 categories. Work published in the Catalogo dell’Arte Moderna 2018, Giorgio Mondadori. 1/7
Alessandro Pongan, Bronze, Metall
Unrevealedness: the Idea as Continuum
Installation at the Gorcum's Museum. Video presentation with soundscape, mindmap, ash photos Jannetje Paijmans and Dan Foerster
Alexandra Bremers, Installation, Mixed Media
ETERNITY II
In ETERNITY, the artist explores the seemingly endless possibilities of the subterranean Roman passageways and the journeys through space and time they represent. By taking rubber casts of the hand-hewn walls, bringing them to the Earth's surface, transforming them into molds and then casting them in bronze, von Thüngen brings a space out of the ground and into a new place. Along the way, she transforms that original space, twisting it gently and slicing it into new sections as she brings it to the surface. In doing so, she moves an ancient space through time: First, into the contemporary world, and then, when sunlight bounces off it and into space, the future. text by vernon silver curated by BRUNO CORA during Venice Biennale 2017
janine von thungen, Bronze, Installation
spiral_01
necklace ... for more neck | pure silver and a diversion of zirconia in orange, red and blue
Bergit Hillner, Metall, Naturstoffe
möbius and the saw
Hocker ... aus weissem Corian | die Programmierte Strucktur entspricht einem Möbiusband, welches dann zweigeteilt und als Sitzmöbel für eine Badelandschaft in weissem Corian gefügt mit rotem Corian ausgeführt wurde.
Bergit Hillner, Kunstharz, Stein
foghorns
Erfurt Verwaltungszentrum Steigerwald Betonwerkstein, am Ort hergestellt, Oberflächen bearbeitet Nebelhörner sind Zeichengeber und Orientierungshilfe auf See oder an der Küste, wenn Sichtmöglichkeiten eingeschränkt sind und gewöhnliche Orientierungsmöglichkeiten ausfallen. Im übertragenden Sinne könnten Nebelhörner auch an Land nützliche Orientierungshilfen sein. Eine Erweiterung dieser Übertragung wird durch die Vielzahl der an einem Ort versammelten Nebelhörner angeboten, wie etwa z.B. dem Gedanken einer demokratischen Meinungsbildung als der Summe vieler Orientierungen. Die glatten, vertikalen Flächen, welche die Öffnungen der Ursprungsform (Nebelhorn) ersetzen, erscheinen in ihrer verwandelten Form als Kommunikationsinstrument. Die einzelnen Elemente werden als Individuen wahrgenommen. Die einander zugeordnete Positionierung, jeweils als Kommunikationspartner einerseits, als zugehöriger einer Gruppe andererseits, erzeugen die Atmosphäre eines allgemeinen Kommunikationssystems. Neben den interpretatorischen Aspekten geben die auffällige und eigenwillige Formgebung eines Nebelhorns Anlass für eine erstaunliche Variationsbreite skulpturaler Bearbeitungsmöglichkeiten. Die Wahrnehmung der Formen und des Materials, auch aus rein ästhetischem Blickwinkel, als skulpturale Elemente, sind so gleichwertig möglich. Die quasi aus dem Boden wachsende Form öffnet sich in eine gezielt orientierte glatte Fläche, als Abschluss der Form und als Ankopplung (Interface) an den umgebenen Raum.
Daniel Priese, Beton
A boy with a Flute
My Artwork bronze sculptura “a boy with a Flute” is figurative. In 1986 won the prestigious competition of Diploma works of Students of sowietunion, Minsk, Belorussia - a first prize, a bronze sculptura “a boy with a Flute”. One ekzemplar is purchased for the national Art fund Georgia. The second was bought in switzerland in private collection.
Irodion Gvelesiani, Bronze
quest, animale form
Im Schaffen von Daniel Priese sind die Positionen von Figürlichkeit und Ungegenständlichkeit ein Kontinuum. Ein Bindeglied zwischen beiden Orientierungen stellen die animalen Formen dar, mit denen sich der Bildhauer seit etwa dem Jahr 2000 beschäftigt. Nur selten ist dabei eine bestimmte Spezies gemeint. In der Regel dient hier lediglich ein organisches Gefüge allgemeinster Art als Ausgangspunkt einer Formentwicklung. Dr. Reimar Lacher
Daniel Priese, Stein
Hello Golem “Magicamuska”
Participated the international sculpture biennial “Sculpture by the sea Aarhus 2015”. It became permanent installation in the public square in the city.
Savako, Kunststoff
KING KONG BALLS ASPHALT
Sculpture: Clay on Iron, Wood. Original sculpture on his work table, this sculpture was used to make the mold for my "KingKongballs" in bronze. This sculpture was so beautiful despite the damage caused by the demolding, I decided to consolidate it with resin and keep it. The pieces of asphalt (recovered from a Budapest street under reconstruction) represent our planet in danger. This work is dedicated to our planet and all animals we are destroying.
Denis Defrancesco, Ton, Kunstharz
THE PINK LADY ( Small Version / Limited Edition of 6)
The Pink Lady Nostalgia. ... C’est une Poupée who says “Yes, yes, yeeessss!..” Who says Amen to whatever may come... A cuddly and consenting Doll... An unabashed doll... The Lady Heroine of all desires... The animated Object of all penchants, all sins... ... Sweetheart, come let us see if the Rose is rose/... A pic to capture that pink ... The wide-open diaphragm... The folds of the crimson robe, under the spotlights exactement... Petals of all colours, but roses are rose in all the gardens of the world, their buds like the diamonds of eternal pleasures... ... A Thousand and One Women... in ONE... The Synthesis is Bold, the Doll pumped up, the combinations multiple, the appearances deceiving...The Stone beneath the Flesh... Hard and cold... A polished and smooth Poupée de Marbre ... A Venus without her Fur... A shaven Sacher-Masoch... Not a hair left of Romanticism... A 2.0 Doll far from The Origin of the World... ... The body calibrated for stereotypical ardours... Unfussy tattoos, curls for artifice, silicone up to the gunwales, seams ready to split: The Pink Lady, Doll of the Quick Fuck… ... We would like her to speak... To pronounce words, sounds other than the conventional onomatopoeia of fawning pleasures... The Mmmm, the Aaaah, or the Ooooh... Letters that would form real words... No: nothing to be done, nothing to be said... ... A voiceless, unsmiling, soulless doll, her slits like bottomless pits, a humourless, joyless Doll... We will never see her heart or her feet, forever sealed in Carrara stone... A non-finito modern Galatea, off-putting her Pygmalion... The sculptor’s dream, his Ladies of yesteryear, his Marys full of grace and virtue, the Roses in bloom of his lost youth...
Denis Defrancesco, Stein, Marmor
Sitting beauty
12 Exemplare limitiert, nummeriert, signiert handpatiniert und handpoliert Bronze
Marcel Börlin, Bronze, Bronze
Kunstkritik-Preis
Kunstkritik-Preis Arte Binningen 2018 https://www.marcelboerlin.ch/kunstguss/auszeichnung/
Marcel Börlin, Bronze, Bronze
Zwei Herren in Betrachtung des Domes
Die Skulpturengruppe "Zwei Herren in Betrachtung des Domes" (2010) spielt mit den Erwartungen des Betrachters, die durch das Konzept des Personaldenkmals geprägt sind. Erwarten würde man, in einem der Herren im Kostüm des 18. Jahrhunderts vor dem Gleimhaus eben den Dichter, Sammler und Freundschaftsapostel Johann Wilhelm Ludwig Gleim zu erblicken. In dem anderen könnte man irgendeinen der namhaften Literaten, Denker und schönen Geister vermuten, die Gleim in seinem so genannten "Freundschaftstempel" im Porträt versammelte. Doch Priese gibt eben kein Porträt, sondern verweigert den beiden Herren eine Identität. Die beiden Figuren sind schlicht zwei Herren aus der Zeit des 18. Jahrhunderts, die in Betrachtung des Domes begriffen sind. So löst sich die Gruppe vom herkömmlichen Personaldenkmal und bildet eine inhaltliche und optische Klammer zwischen Gleimhaus und Dom, wie Gleim tatsächlich ohne das Amt des Domsekretärs nicht nach Halberstadt gekommen wäre. Die Gruppe wurde schnell zu einem der beliebtesten Fotomotive der Stadt und zu einer Art Wahrzeichen des geistlich-musischen Halberstadt. Dr. Reimar Lacher
Daniel Priese, Stein
mittelsegment
Die Reihe SEGMENT weist Schnittstellen zu gleichgeordneten Gliedern auf, die das Werk als Bestandteil eines größeren Gefüges bezeichnet – etwa in der Art eines Formsteins im gotischen Maßwerk.
Daniel Priese, Stein
Zusammenhalt
Bronzeplastik am Dorfplatz von Fuschl am See. Entwurf entstand bei einem Tapesculptur-Workshop mit 10 Kinder und Jugendlichen. Umgesetzt in Bronze und Edelstahl von Felix Igler.
Felix Igler, Bronze, Metall
My little wood stove
glass, transparent photosheets photos: Paul Niessen, artist
Alexandra Bremers, Glas, Kunststoff
Awakening
3 Exemplare limitiert, nummeriert, signiert handpatiniert und handpoliert
Marcel Börlin, Bronze
THE GARDENER
Following from Der KUSS, this piece further develops sculpture’s integration and unification with nature.The Gardener is even lighter and more transparent than ‘Der Kuss’ yet at the same time is also dynamic and powerful. The woman bends to look at the jasmine which grows along and within her leg, and beyond to the roots where its journey inside begins. The effect of the plant climbing within is a ‘Cul de Paris’, a 19th century skirt.
janine von thungen, Bronze, Sonstige
The delusion
Als unentrinnbare Verstrickung drückt die Gnadenlosigkeit von Schmerz, Verzweiflung, Hoffnung und Sehnsucht existenzielle Not aus. In diesem Werk versuchte der Künstler sich aus den Bahnen vom reinen Expressionismus zu distanzieren und Narratives Figuratives ins Leben zu rufen. Dem Betrachter wird das Verborgene ohne Distanz vor Auge geführt, was fernab jeglicher Interpretation erlebt werden kann, sozusagen als Spiegel vom eigenen und kollektiven Trauma.
Marcel Börlin, Bronze
REACHING TO THE STARS
6 Exemplare limitiert, nummeriert handpatiniert, handpoliert und signiert
Marcel Börlin, Metall, Stahl
Black widow
Ein Rätsel. Erhaben und enigmatisch gibt diese Skulptur keine vorgefertigten Antworten, sondern lässt dem Betrachter Raum für Empfindungen und eigene Interpretationen.
Marcel Börlin, Bronze
The Mirror
You can see yourself in the brain parts that are like a mirror and think.
Jaco van der Vaart, Metall
MENSCHEN (Serie)
Holz gesägt und gefeuert | ca. 180 cm | 2016 – 2018
Rendel Freude, Holz, Metall
Changing announcement
Kinetische Skulptur zum aufziehen Metall, Draht, PE-Schläuche, Sicherheitsgurt, Öl Diese Skulptur gewann an der Skulptur Biennale in Astana, Kasachstan im Jahr 2017, den zweiten Preis!
Bernhard Jordi, Metall, Kunststoff
Wohlgefallen über Knickbein
Kinetische Skulptur zum kurbeln 2011 Metall, Draht, Blech
Bernhard Jordi, Metall, Stahl
Arctic
We use nature as a laboratory which gives us the right to do with it what we want. For an old butcher shop in Rotterdam in the Netherlands, I made a site-specific artwork installation dealing with a specific event. The event is the economical fight for the arctic in the search for oil. A struggle for the preservation of the arctic itself should be a lot more meaningful. The event got in the news when people of Greenpeace were held as hostages by the Russian Federation. The news was no longer about the damage done to the arctic, and so to nature worldwide. Attention needed to go back to the original problem, so I made this installation to pick up the initial debate. There were lectures and debates with Greenpeace and it got quite a lot of publicity.
Harry Schumacher, Eis, Metall
Hierarchy
The mountain of sand starts at the top in the box and find its way down through eight groups of circular orientated holes. The holes have their influence on the trail of the sand. The sand carries the box. The work is a metaphor for a hierarchy based society. A performance comments on the hierarchic system by taking sand from the lowest part and pour it into the box on top endlessly. The performance of over 20 hours took place at the "No Walls Expo" during the Rotterdam Contemporary Art Fair of 2016.
Harry Schumacher, Performance, Installation
Gelbton
Gelbton Kinetische Skulptur zum aufziehen
Bernhard Jordi, Metall, Stahl
Sesamo -
Sesamo explores the power and potential of the human voice which is as unique as the fingerprint. From recordings of the collector’s voice, the resulting sound waves are transformed into a sculpture which can be suspended like a mobile or fixed on a structure. Voice is given physical form. As the hollow tubes are caught in the wind, the work responds, producing its own melody. In this example, it is the voice of the owner alone who can unlock the gates to reveal the rich collection within. the collector recited 'voyelles' by A. Rimbaud
janine von thungen, Metall, Installation
Little speech
Little speech Kinetische Skulptur zum aufziehen Metall, Draht, PE-Schläuche, Sicherheitsgurt, Öl
Bernhard Jordi, Metall, Sonstige
Köpfe voller Eindrücke
Das sind Sitzgelegenheiten aus Holz. Holzköpfe welche Eindrücke aller Art gesammelt haben. Ein Möbelstück wird zur Skulptur oder umgekehrt. Es sind Gesichter, die von ihren Eindrücken geformt sind. Oder sind es Köpfe, die von den Daraufsitzenden zerdrückt werden? So entstanden in der Anfangszeit nach meiner dreieinhalbjährigen Reise die Archetypen: «erster Eindruck», «Beeindruckt», «leicht Bedrückt», «Unbeeindruckt», «Überdruck» und «Unterdruck».. Ebenso entstand an einem Festival der Entwurf einer Bank: Ein Kopf mit ausgestreckter Zunge als Sitzfläche, der sogenannte «Arschlecker». Schlicht, elegant und unaufdringlich sind meine Hocker auf keinen Fall. Sie schreien nach Aufmerksamkeit, sind nicht nur glatt: Man sieht die Arbeitsspuren des ‚urchigen‘ Handwerks, man kann das Holz fast noch riechen. Jedes Stück ist ein Unikat, handwerklich gefertigt, eventuell zusätzlich nach Kundenwunsch angepasst, sind es sehr individuelle Skulpturen.
Daniel Züsli, Holz
FF 2 - “Freiheit” - “Freedom”
FF 2 - “Freiheit” - “Freedom” Plywood, varnish, acrylic paint, screws dismountable My goal was to create a sculpture that expresses lightness and dynamism and conveys a feeling of freedom. The individual stripes literally fly into the middle (square) and interact formally and in color. FF is the abbreviation for "color & shape". Here, the focus is on the projected by the daylight colors and color mixtures, which always appear in daylight and weather conditions in a new light. Depending on the nature of the background, the colors appear almost as clear as with colored glass windows, as it is broken light. Daylight hits the wall and throws it onto the painted back of the sculpture / installation, which projects the color onto the wall and becomes visible to the viewer. Overlapping color projections produce color blends. ___________________________________ Sperrholz, Lack, Acrylfarbe, Schrauben zerlegbar Mein Ziel war es, eine Skulptur zu schaffen, welche Leichtigkeit und Dynamik ausdrückt und ein Gefühl von Freiheit vermittelt. 
Die einzelnen Streifen fliegen förmlich in die Mitte (Quadrat) und inter- agieren formal und farblich. FF ist das Kürzel für „Farbe & Form”. Hier liegt der Focus auf die durch das Tageslicht projizierten Farben und Farbmischungen, 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. Das Tageslicht trifft auf die Wand und wird von dort auf die bemalte Rückseite der Skulptur/Installation geworfen, wodurch die Farbe an die Wand projiziert und für den Betrachter sichtbar wird. Sich überlagernde Farbprojektionen ergeben Farbmischungen. http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&bilder=sculpture&navi=ff&unterkat=ff01-09&kat=a&bild=3#id3 http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=video
Alexander Lorenz, Holz, Licht
Liminal Place
In my recent work I have produced sculptures and installations, in which I disrupt the regular arrangement of sentences and words. The resulting lack of order is then manipulated in such a way to obtain a new tangible reality. My aim, with these projects, is to explore the unknown realms between language and not-language, between communication and silence. Silence is often seen as the reverse of language, however silence is an integral part of the message, as not only does it divide and link sentences, but it is also to be found inside of them and is, furthermore, inhabited by them as well. To communicate is to put into language (spoken, written, digital, visual, sound), a process which establishes the boundary between static order and incomprehensible chaos. This boundary between order and chaos is constantly in a state of flux and forever being redrawn. Finding relatable meaning in today’s flow of data plays an important role in understanding the world we live in and our place in it. Information overload may cause stress and fragmentation. Silence may often seem the only alternative in this threatening disorder. However this data glut also contains the opportunity for creativity and connection. With the digitalization of the media, our own semiotic production is becoming more and more complex and abundant. Signs are proliferating. There is hardly a space without writing in it or a quiet time to be found. Silence stands in the way of the speeding up of life. Additionally, the built-in silences in speech and writing are being shortened or eliminated by new media technologies. In fact, our knowledge is increasingly experienced, shared, learned, recorded and stored digitally. Our identities are increasingly shaped by faster modes of communication and by the footprints created in the process. When new signs take the place of silence, the relationship between communication and silence becomes more intimate, more microcosmic, and takes on altogether new forms. The figure is retreating from the sensory overload in order to interpret and connect this chaotic information glut. The pause or introspection is paramount not only to understand the contrasting, fragmented flow of information she is continuously subjected to, but more importantly, the ‘thinking pause’ also becomes a constitutive element of thought itself and therefore of creation. The moment of inspiration comes when chaos and its absence come together. The figure’s outer layer, made of parcels of text and images, aims at capturing the complexity of human beings, as well as placing subjectivity in correlation with social and cultural factors. In this project the fragments of knowledge become part of the figure; they seem to flow into each other to form a new whole. This new whole, however, is never static or finished. As an innumerable amount of events and encounters concur to form and shape every individual one could also say that human beings are made of various fragments (memories, images, text and people we meet) and therefore made of parts of others. Accepting the fact that we are made of parts of others, may involve dealing with a subjectivity, which expands beyond the subject itself to include otherness and chaos within.
Manuela Granziol, Mixed Media, Papier
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