Markus Brinker

Element Luft

Bewegung im Wind, fließend, harmonisch - das Element Luft sichtbar gemacht, Walnussholz, geölt und vergoldet mit reinem Blatgold

FACTSHEET:

Abmessungen : 73 cm x 32 cm x 17 cm (Height, Width, Depth)
Gewicht : 5 kg
Jahr : 2019
Material : Holz
Bearbeitung : abgetragen
Stil : modern, abstrakt, filigran

Markus Brinker

Seelenkreationen - Kunst als Sprache der Seele aus der Natur geboren

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Crying Dinghy (A Spirit Recharge Vessel from the Cosmic Recharge Series)
The Crying Dinghy is a rescue boat for the human spirit, made for everyday people as a place for contemplation. It comprises a stone pillow near the bow and two giant gramophone horns, which channel tears cried into the pillow to amplify them. While the vessel is built to navigate the sea of tears, once the flood of raw emotion has been released, the person themselves might feel their own inner buoyancy.
Hanna Hoyne, Metall, Stein
Sorry to the flowers
Laboratory glassware, head massage, crown glass. Installation, growing size. Flower meadow, delicate, light, fragile, domino effect, dry, happiness.⁠ Irretrievable, Entschuldigung.⁠
Cate Wind, Mixed Media, Glas
Säule der Freiheit
Kunstprojekt 2017 Säulen der Freiheit „Die Freiheit ist wie das Meer. Die einzelnen Wogen vermögen nicht viel , Aber die Kraft der Brandung ist unwiderstehlich. Václav Havel
Friedrich Vossel, Stein
Egoism
Compass, many, metal, rust Installation, growing size Rotate around one's own axis.⁠ Infinity with place for hope⁠ Defense, aggression, defense, ego, weapon.⁠ Hope.⁠
Cate Wind, Metall, Installation
Zeewierwoud
Installation. Kirigami, Tyvek. In Ireland at the Atlantic shoreline, when the ocean-floor temporary becomes land, eccentric shapes of seaweeds appear on the rocks. Fascinating, huge and mysterious. With a tough leather like structure, now and then half transparent like the skin of strange sea creatures. How would it be like to wander through these seaweed woods? This work ‘Seaweed-wood’ started in spring 2020, during the first outbreak of Corona crisis when society came to a hold. The silence and the absence of daily disturbance gave the opportunity to optimum concentration. These peculiar circumstances were of great influence on the final looks of this work.
Alice W Bakker, Installation, Kunststoff
Samsara
Vases, many, silver Installation, growing size Reincarnation. Body as vessel, change of perspective. Endless depth, darkness. Past is concealed. All is one.
Cate Wind, Metall, Mixed Media
DER KUSS
Der Kuss: Inspired by Gustav Klimt’s famous Kuss, this sculpture explores the relation and integration of human love and nature. As the two figures entwine, so the plants interweave, uniting the sculpture and becoming a part of it. Like the plants, the couple’s love starts from a small seed, grows and blooms, yet is also subject to influence and change from the world. Aesthetically this work is connected to New York Project, but a step further in transparency
janine von thungen, Bronze
Ignorance #1
“Ignorance is the root of all suffering which is the lack of knowledge and understanding.” In this sculpture I show ignorance as heads that are in the box, they are ignorant therefore they can’t find their way to happiness. They are in a dark area which is the box where they cannot see the light. They are all connected. They are all part of one body which is the universe.
Mehnoush Modonpour, Ton, Sonstige
Ich frei mich nicht fühl
Lunch boxes, many, metallic installation, puzzle. Imprinting. boundaries. liberation. hunger.
Cate Wind, Metall
Element Luft
Bewegung im Wind, fließend, harmonisch - das Element Luft sichtbar gemacht, Walnussholz, geölt und vergoldet mit reinem Blatgold
Markus Brinker, Holz
Ignorance #2
In this sculpture the boxes are almost open and heads are about to come out. They are not in the dark anymore, but still can’t see (heads don’t have eyes) and can’t hear (they don’t have ears). But there is still hope. Also, they are connected because all humans are connected like cells in a body. We are all part of the universe and therefore we are all connected. If one cell in a body is suffering it will affect all other cells. So if one human is suffering, it affects all other human-beings.
Mehnoush Modonpour, Ton
FF 1
HDF, plastic, acrylic paint The object can be hung all four sides on the wall or placed on a pedestal. The wafer-thin material is a pendant and a symbol of the refugee and immateriality of light. Its waveform "models" the reflected color gradients. Where two colors meet, color mixtures are created. _____________________________ HDF, Kunststoff, Lack, Acrylfarbe Das hauchdünne Material ist Pendent und Sinnbild für die Flüchtigket und Immaterialität des Lichtes. Seine Wellenform “modelleiert” die reflektierte Farbverläufe. Wo sich zwei Farben begegnen entstehen Farbmischungen. Das Objekt kann beliebig herum an die Wand gehängt oder auf einen Sockel gelegt werden. http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=ff&unterkat=ff01-09&kat=a
Alexander Lorenz, Holz, Kunststoff
the insane
the work is part of a composition called vices. VICES These works represent an image of past, present and future vices. They narrate the ritual of everyday habits that interconnects various characters illustrated in their transformation (metamorphosis). Relations emerging therefrom give birth to a story. What are these relations? What is the story? I am attempting to stimulate the viewer to assess circumstances, I am trying to start an impromptu dialogue by association of two seemingly absent entities. Starting from the human dimension, each character – which may become an exemplary model to be meditated upon – makes reference to fundamental life experiences in a place (universe) dominated by the everlasting omnipresence of frustration, whose existence in time is intended to be anticipated. Therefore, these works are materialized in the visual plan of the imbalance between inner- and outer-self. My endeavors pursue a human urge, more precisely the reintegration in basic, day-to-day life of fragments of an excess (overabundance) of actuality (reality), represented in a condensed form through the details of a gest. Petre Mihai Nilă
Nila Mihai-Petre, Bronze, Metall
NAUSIKAA
Thüster Kalkstein, Schwarzweiß-Belichtung
Thomas Lucker, Stein
Even the trees are crying
The installation EVEN THE TREES ARE CRYING by Aurelia van der Burght, initially created out of glass, ceramic elements and steel wire, has emerged following the disastrous world in which we live in, and from which we can’t leave. We are responsible and inevitable part of the catastrophic events that will occur. A process that is brought to an end very slowly, almost without notice, like an incendiary tumor. Aurelia invited Hanne Schillemans – dancer, choreographer – to create a new theatrical reality in her own unique way by blending music and image with her movements. The music is composed by Ralph Timmermans, and he’s been inspired by the installation of Aurelia and the movements of Hanne. The performance of his music is done by musician Rob Cornelissen.
Aurelia van der Burght, Glas, Keramik
the insane
the work is part of a composition called vices. VICES These works represent an image of past, present and future vices. They narrate the ritual of everyday habits that interconnects various characters illustrated in their transformation (metamorphosis). Relations emerging therefrom give birth to a story. What are these relations? What is the story? I am attempting to stimulate the viewer to assess circumstances, I am trying to start an impromptu dialogue by association of two seemingly absent entities. Starting from the human dimension, each character – which may become an exemplary model to be meditated upon – makes reference to fundamental life experiences in a place (universe) dominated by the everlasting omnipresence of frustration, whose existence in time is intended to be anticipated. Therefore, these works are materialized in the visual plan of the imbalance between inner- and outer-self. My endeavors pursue a human urge, more precisely the reintegration in basic, day-to-day life of fragments of an excess (overabundance) of actuality (reality), represented in a condensed form through the details of a gest. Petre Mihai Nilă
Nila Mihai-Petre, Bronze, Metall
Duifje
3-D print, titanium (grey)and stainlesssteel (silver). 3_D drawing made after a scull from a young dove.
Alice W Bakker, Metall, Sonstige
Die Springerin
Die Springerin Bronze (schwarz patiniert)
Dagmar Vogt, Bronze, Bronze
A sad history, or is it futurism?
Installation by Aurelia van der Burght soundsculpture i.s.m. Krijn Hendriksen en Hans d'Achard Gruyterfabrieken, 's Hertogenbosch
Aurelia van der Burght, Keramik, Papier
spheres_01_01
bowl dimensions: 44 cm x 44 cm x 33 cm (l x d x h) material: ply wood pine finish:antique wax polished process: programmed structure, cnc-produced 35 pieces on a 3-axis-mill, assembled and polished by hand
Bergit Hillner, Holz, Naturstoffe
Stern von Bethlehem
"Stern zu Bethlehem" / Stadt Linz
Konrad Feichtinger, Metall, Mixed Media
DREAM IT !
Holzrelief, Esskastanie, patiniert, H 90 x 105 cm
Alexander Heil, Holz
Raum/Zeit
Freistehendes Relief, Eiche, patiniert, H 45 x 48 cm
Alexander Heil, Holz
The big tread or The Evolution of the Diva
Portrait of hut designer Fiona Bennett The melodramatic and baroque swirl crowns fashion designer Fiona Bennett, indulging in overflowing and sophisticated hat finery. It is a hybrid staging. The wonderful purity of the bleached ostrich feathers meets the ostrich foot as an unembellished reminder of repressed phases of evolution.
Margarete Adler, Kunststoff
An altar for an ordinary animal
Beeldenroute Landart Diessen An altar for an ordinary animal An altar for an ordinary animal manages to establish a connection between the church village of Diessen and the area where Landart Diessen takes place. In addition, visual artist Aurelia van der Burght brings an ode to the hare with this sculpture. This creature is equipped with special qualities. Fast, smart, alert, funny, symbolizes fertility, cyclic rebirth and magical power. There is, however, a duplicity in what is observed. The holy water containers change effortlessly into dipping sauces. The hare has been placed in the corner by many, we would like to eat in pieces during a festive meal. Aurelia van der Burght, Diessen 2008
Aurelia van der Burght, Holz, Keramik
"Geometrie und Zahlen" 21 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein
cup_06
kleines Trinkgefäss ... Abformung eines Espresso-Bechers in Porzellan mit verschiedenfarbigen Glasuren.
Bergit Hillner, Keramik, Glas
"Geometrie und Zahlen" 22 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein
"Geometrie und Zahlen" 23 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein
"Geometrie und Zahlen" 24 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein
"Geometrie und Zahlen" 25 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein
Shahrázáds fortellinger V
Installation at Oslo Kunstforening Acrylic colour, aluminium and 3D print on wall
Susanne Kathlen Mader, Installation, Metall
Alter Ego
Figurengruppe mit Paddel im Boot | Bronze
Claudia Katrin Leyh, Bronze, Metall
Baumfrau (Nr. 124)
Stein (Serpentin-Raindrop), Eisenhalter
Silvia Withöft-Foremny, Stein
00 _ 03
Tiefspühlbecken ... Keramik schwarz poliert Formstudie, welche zum streicheln und umarmen anregt ... ich fühle mich extrem geehrt, wenn meine Rezipienten tatsächlich mit meiner Toilette kuscheln möchten ...
Bergit Hillner, Keramik
"Geometrie und Zahlen" 27 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein
FF 14
H 70 x W 64 x D 6 cm Hardboard, plastic, varnish, acrylic paint Like three spokes of a wheel or rays of a star, the three basic colors blue, yellow and red strive for a common dance on the round background disc. Outside the disc, each one by itself, they mix to a seemingly rotating color wheel. _____________________________ H 70 x B 64 x T 6 cm HDF, Kunststoff, Lack, Acrylfarbe Wie drei Speichen eines Rades oder Strahlen eines Sternes streben die drei Grundfarben Blau, Gelb und Rot auf die runde Hintergrundscheibe zu einem gemeinsamen Tanz. Außerhalb der Scheibe noch jede für sich, mischen sie sich zu einem sich scheinbar rotierenden Farbkreis.
Alexander Lorenz, Holz, Kunststoff
"GEOMETRIE UND ZAHLEN" 28 VON 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein
Mann im Schaum
Relief | Gips auf MDF schwarz | little people
Bergit Hillner, Holz, Gips
WASSER
Wasser Larvikrit Bildhauersymposium 2014 Asgard Norwegen
Friedrich Vossel, Stein, Stein
ARTEMIS
Göttin der Natur - Blüte - Menschliche Gestalt
Markus Brinker, Holz
Große und Kleinere Bewegung
Ein Blick in die Werkstatt. Im Vordergrund "Bewegung" in zwei Größen
Cornelia Hammans, Bronze, Metall
La Serena
die Heitere - die Gelassene - Zufriedenheit - Vertrauen
Markus Brinker, Holz
Chaotische Harmonie
Auftrag für eine Außenanlage. Hier vor der Montage noch in meiner Werkstatt.
Cornelia Hammans, Bronze, Naturstoffe
Dreaming the woods I
The project “Deaming the forest” talks about the ephemeral experience of standing in front of a tree; the incorporeal experience of remember the nature. The work reflects on the relationship between human beings and nature. It is a work about memory. I seek to reconnect with nature through memory. Remembering the experience of facing the wind, the leaves, the grass… The work is not explicit, everyone will read in it their own memory. Bringing the nature as a memory into the city is the only way to make it present.
Tamara Jacquin, Holz, Textil
Die Wand 2
plastische Wandgestaltung aus Keramik
Guido Kratz, Keramik
Exibiz
Der Exhibitionist der sich doch nicht ohne goldene shorts aufs Podest wagt.
Martin Schlamp, Holz
Portraitstudie
Unser Portrait ist Basis unserer Individualität, Ausdruck aller Möglichkeiten etwas zu seinen eigenen Bedingungen zu tun. Auf alles andere zu pfeifen und nur die Dinge zu machen mit denen man sich selbst treu bleibt.
Jonas Eideloth, Stein, Holz
series of collages
collages
noam ben-jacov, Mixed Media
Alice and the Cheshire Cat or Farewell to Wonderland
Alice, pale, innocent and distanced, has not only assigned her grin to the cat. She handed over her vitality exhaustively to the little cat-mummy, thereby creating an uncanny and Pygmalion-like inversion of what is dead and what is alive. A human and the beastly mode of existence. Fading away, her Victorian beauty reanimates the shrunken creature. As a cheshire cat it rises forever.
Margarete Adler, Kunststoff
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