Karin van der Molen

Mindbubble

When thinking we are hardly aware of the environment, we are closed in our mindbubble. When you put your head in this coconut fibre sculpture, the world is dark, soft and lonesome.

FACTSHEET:

Abmessungen : 220 cm x 200 cm x 200 cm (Height, Width, Depth)
Gewicht : 50 kg
Jahr : 2016
Material : Naturstoffe, Metall, Textil
Stil : zeitgenössisch, figurativ, poetisch, interaktiv

Karin van der Molen

The green world is my canvas and my main source of inspiration. The fields, forests, grasses and rivers invite me to engage and to question the contemporary separation of humans and nature. Usually I make site specific art with locally sourced materials, seducing myself and the passer-by to see and enter nature in a new way. With my environmental art I invite to encourage, amplify and intensify our imagination and to open up to our surroundings. I am fascinated by the different aspects of growth. How nature grows, how growth gets out of tune, how the growth of one either hinders or stimulates the growth of another. In my latest artworks examples of human culture are translated into natural shapes, such as crockery growing on trees as a fungus, or ‘pipelines’ made out of hay and willow. Beyond the history, humour and esthetics of the pieces lies the open question:”What am I doing here?”

auch interessant:

Hello Golem “Togen”
“Oto” and “Togen” have permanently been installed at Sculpture Park Billund, Denmark. My studio is at the foot of a mountain that is full of nature. I wished that there should be some spirit-like presence among the surroundings of plants, insects, bird’s voice and fresh air, the sculptures that took shape from that wish, I named them golems.
Savako, Kunststoff
Not a knot
Forests, fields, rivers and the sky: nature’s most important feature is it’s openess. There are no boundaries, we can disappear in it. Even seemingly impenetrable forests or labyrinthical footpaths open their ways to us if we carefully listen to their language. Nature may feel like an impenetrable knot, a place too difficult to understand. It did to me for a long time, as I was born and raised as a city girl. The digital age only added to that feeling of alienation. But breathing the fresh air and hearing the leaves rustle, I envisioned an open knot sculpture, woven as lace with willow. It is open from the top to the bottom , letting the sky in and move through the tube to the earth.
Karin van der Molen, Naturstoffe, Metall
Sign of the times
In the south of Sweden there are still many gravehills of the bronze age and rockcarvings that may be even older. The sun was worshipped, it was depicted as the so called Sun Cross. The landscape is changed nowadays in a functional way, it can be a nature reserve or used for (industrial) farming or tourism. In many places pipelines criss cross countries to supply fuel for our energy needs. I used the graphic quality of these pipelines, popping in and out of the ground, to depict ways of human traces in the landscape. Seen from the center of the otherwise randomly installed pipes the prehistoric sign of the Sun Cross appears, as a reminder of a different view on the earth that we inhabit.
Karin van der Molen, Naturstoffe, Metall
four layers
Installation invites to get deeper into a concept of layer itself. Whether it is an institutional layer, a cultural or social one. The title becomes a reference to a field of layers. It is provocative and manipulative. Practically the installation is made out of four layers: the first one- the space itself, which remained untouched( I didn't move a piece that was left in the room so the broken armchair, the electrical panel, holes in the wall appear ), second one- layer of plaster which gently covers the layer under it in a form of a playground, the third layer- the line that is made of a paint which used for marking the roads for transport and last one- the marks of visitors which in time changes depending on visitors who are leaving their traces on the white paint of floor and walls. Title stops counting those layers after the fourth one, but if we get deeper we can see many more (example - the layer of knowledge which is necessary to read the work, the layer of spacial and general sensitivity, the layer of individual experience and so on)
Ūla Šukytė, Mixed Media, Sonstige
Ceci n'est pas une pipe
This is not a pipe, to paraphrase Magritte, but the sculpture suggests the existence of a pipeline across the river. Pipelines are abundant in our world and even if they disturb the landscape they are eventually accepted as a new kind of nature.
Karin van der Molen, Naturstoffe
Mindbubble
When thinking we are hardly aware of the environment, we are closed in our mindbubble. When you put your head in this coconut fibre sculpture, the world is dark, soft and lonesome.
Karin van der Molen, Naturstoffe, Metall
Flux
This old villa needed to be connected to the botanical garden that encloses it. I moved the old furniture and it started to flow as a waterfall down into the garden, returning to nature.
Karin van der Molen, Holz, Installation
Polarbear 2.0
Everything changes always, but now nature is forced to adapt to unforeseen circumstances. This 'skin' is put on a frame as the Inuit do traditionally after their bear hunt.This feathered polarbear skin raises questions about tradition versus modernity, change and loss in the natural world.
Karin van der Molen, Naturstoffe, Textil
Vanitas
Vanitas objects are an old symbolic in the arts of the inevitability of death and the transience and vanity of earthly achievements and pleasures. This feathered skull is fixed to a transparant boat, ready to cross the waters, may also be seen as a tribute to the beauty of life.
Karin van der Molen, Naturstoffe
The source
Fragments of china porcelain form this funnel into Yu Lei mountain, an artpiece along the historic tea trade trail. At first sight it can be read as a tribute to the ancient culture, that is still feeding our culture today. Patterns of blue and white porcelain in the sculpture tell us about yin and yang balance, values that are still able to inspire us beyond the challenges of modern life. At closer look you will find also pieces of porcelain coming from European countries. As happens in this sculpture, our cultures get closer and eventually we are influenced and inspired by one another. At the bottom of the funnel there is the drain, to let the rainwater out of the sculpture. The drain pipe also tells us to cherish our fundaments, and not let them be washed away.
Karin van der Molen, Keramik, Beton
EPIGENESIA IM ZWISCHENREICH
SERIE: Pulp_Fiktion_Skulpturen Pappmache Nur bedingt für den Aussenbereich geeignet
Regine Jonas, Kunstharz, Papier
Moonstruck
A huge hollow hayball is suspended in the citypark of Kiev, offering a place to be alone and isolated in a natural surrounding. Just the smell of the grass, the feel of the hay and a view towards the sky.
Karin van der Molen, Naturstoffe, Metall
The thorn
This corten steel sculpture is inspired by the real existing plant Colletia Paradoxa, consisting of little airplane wings. It is a prickly plant and so are airplanes in our world, very convenient but displaying inconvenient effects on nature.
Karin van der Molen, Metall
inlands #1
inlands #1 2017 steel & stainless steel
Hans Some, Metall, Stahl
TSUNAMI
Tsunami Paradiso Canto II. Life-size silhouettes of figures fleeing from the Tsunami are cast in thin iron. These shadows are inscribed with the names of the thousands who lost their lives in the disaster. As these figures are touched by the viewer and sway in the wind, they become the runners between this world and the next. The flatness of the figures was inspired by the distinctly flat, rather than ‘fleshy’ Adam in Paradise from Massaccio’s Adam and Eve. In 2008 the first set of sculptures was realised in bronze rather than iron. The engraved text is from Dante Aligheri’s Paradise, Canto II. The full text is only visible if you read the letters written in the air between the sculptures. This specific passage links the events of the Tsunami disaster with Paradise in a more profound way. In Canto II the idealised and beloved Beatrice takes the author through Paradise.
janine von thungen, Bronze
Portico Popilyn
Portico comes from an unknown planet. It was 2000 when I first produced Portico. Since then, I have been making Portico of various sizes as my lifework. I have let people “encounter” Portico in different places, such as on the top of mountains, on the beaches, and even on urban streets. Those who are pleased with Portico can get a small‐sized one. The owner would take Portico to a trip with him/her and enjoy taking photos. Seeing how they take it as a part of their life motivates me to work on producing Portico again.
Savako, Kunststoff, Kunststoff
Body Architecture I
"Body Architectures" is a 3 year project, composed of 5 series respectively. "Body Architectures" is born from a concern for the body. It presents questions and reflections on identity, on the meaning that society gives to my body, on what it means to have and to be, at the same time, a body. As Judtih Bulter explains "the body appears as a passive medium on which cultural meanings are inscribed". In this sense, it is recognized that the processes of incorporation fostered by culture shape the subjects of society, with the body becoming a symbolic construction. This project is consolidated as an investigation that metaphorically works the construction of the normative body from the construction of objects-prosthesis and the explorations that arise between body and object, with the purpose of developing diverse narratives that question the socio-cultural models of codification of the present. In this construction/exploration process, the body is constituted as a narrative space. The methodology itself becomes research, since multiple readings or narratives can be generated from the same object.
Tamara Jacquin, Holz, Metall
Body Architecture IV
"Body Architectures" is a 3 year project, composed of 5 series respectively. "Body Architectures" is born from a concern for the body. It presents questions and reflections on identity, on the meaning that society gives to my body, on what it means to have and to be, at the same time, a body. As Judtih Bulter explains "the body appears as a passive medium on which cultural meanings are inscribed". In this sense, it is recognized that the processes of incorporation fostered by culture shape the subjects of society, with the body becoming a symbolic construction. This project is consolidated as an investigation that metaphorically works the construction of the normative body from the construction of objects-prosthesis and the explorations that arise between body and object, with the purpose of developing diverse narratives that question the socio-cultural models of codification of the present. In this construction/exploration process, the body is constituted as a narrative space. The methodology itself becomes research, since multiple readings or narratives can be generated from the same object.
Tamara Jacquin, Holz, Performance
Two Tone Edition
MOVING SCULPTURE Nummerierte Auflage: 1-10
Jürgen Heinz, Metall, Stahl
inlands-DIS #1&2
Werkgruppe inlands, -drawing in space- Edelstahl, Einbrennlackierung rot verzinkter Stahl, Einbrennlackierung blau
Hans Some, Metall, Stahl
Alpha and Omega. Lou laughs longer.
glass, metal, cremation badge photo: Louis Visseren
Alexandra Bremers, Glas, Stahl
David revisited
wrought steel daimones|gestalten series
Hans Some, Metall, Stahl
Erkenne dich selbst
Ton Büste Ottilie von Faber-Castell
Bogi Nagy, Ton
The dual origin of the world
Goethe schrieb: „Das Ewig-Weibliche zieht uns hinan.“ Die vorliegende Skulptur steht dieser Sentenz in nichts nach, repräsentiert sie doch als Agglomerat primärer weiblicher Geschlechtsmerkmale das Epizentrum männlicher sexueller Begierde. Doch die heteronormative Dichotomie aus „Männlich“ und „Weiblich“ erodiert im Angesicht der zeitgenössischen Sexualmoral, die bestehende Grenzen und Kategorien im Streben nach individueller Freiheit hinter sich lässt. „Everything goes“ wird zur wesentlichen Maxime ebendieses Zeitgeistes, in dem die private Selbstverwirklichung der sexuellen Identität eines der unabdingbaren Kernkriterien demokratischen Miteinanders ist. Die mehr und mehr dem Gestern anheimfallende heteronormative, patriarchalische Herrschaftsordnung gerät demnach durch die ostentative Zurschaustellung des vulgär weiblichen aus den Fugen. Subversiv hält die Skulptur dem Betrachter alles feil, wonach dem Mann gelüstet. In dieser Form hat die Weiblichkeit im Zuge ihrer bis zur Unkenntlichkeit vorangeschrittenen Reduktion und Objektivierung ihr menschliches Erscheinungsbild jedoch eingebüßt und verweist somit mahnend auf die Inhumanität des patriarchalischen Jochs, das die Frau einzig zum Zweck der männlichen sexuellen Erregung dienstbar zu machen sucht. Die schiere Weiblichkeit stellt somit die rigoroseste Kampfansage gegen das Patriarchat dar und ist ein donnerndes Plädoyer für Freiheit und Gleichheit.
Bogi Nagy, Ton
Black Soul
Belgischer Granit, dunkelgrau, 85 cm, Obwohl diese Frauenfigur geometrischen Charakter hat, war mir wichtig, dass alle Flächen mehr oder weniger abgerundet sind. Das gibt dieser Skulptur einen besonderen Reiz.
Stefan Kresser, Granit, Metall
Connections
Aus einem Stück Apfelholz (Stamm) - gesägt, mit Bildhauer-Eisen bearbeitet, geraspelt, geschliffen, gewachst, poliert, 145cm,
Stefan Kresser, Holz, Metall
Die Konferenz
Aus einem Stück Kirschholz (Stamm) - gesägt, mit Bildhauer-Eisen bearbeitet, geraspelt, geschliffen, gewachst, poliert, 100 cm,
Stefan Kresser, Holz, Licht
Dandelions in Nice
Designed for Cap3000 "Bubble Forest" and "Dandelions" installations were created as a result of inspiration with delicate natural plant forms, and were executed in extremely hard and weather-resistant material — acid-resistant stainless steel. "Dandelions" is an installation directly inspired by the sophisticated design of dandelions (Taraxacum officinale) occurring in nature. The concept of this work was preceded by a meticulous analysis of the structure of dandelion seedhead, which in a somewhat simplified form was then transposed to the macro scale. As a result, the delicate floral pattern took on a completely new — half futuristic, half fairy tale — context.
Mirek Struzik, Metall, Installation
Elefant / Elephant
Auf Amboss getriebene Eisendreiecke verschweißt, gerostet und geölt. Iron triangle formed on anvil - welded to sculpture - rusted and oiled
Kian Lorenz, Metall
Ghöriga Xiberger
In einem Vorarlberger Bachbett habe ich diesen Kalkstein gefunden und bearbeitet. Jede Seite hat einen rohen Teil und einen glatten, bearbeiteten und mit Kerben versehenen Teil --- so wie ein "richtiger Vorarlberger" (ghöriga) eben ist! 70 cm,
Stefan Kresser, Stein, Metall
Nature of the Thing
Installation in blown glass and acrylic
Alexandra Bremers, Glas, Kunststoff
inlands #4
inlands #4, copper, brass, stainless steel,
Hans Some, Bronze, Metall
Fingerprint
Dieser verwitterte, alte Pflaumenbaum - innen an manchen Stellen schon verfault war für mich die Inspiration, ihn ganz auszuhöhlen und in einer Spirale hochzutreiben. Die positive Überraschung war dann noch, als ich die Rinde entfernte und die Fraß-Spuren eines Käfers wie ein Stempel fand. - gesägt, mit Bildhauer-Eisen bearbeitet, geraspelt, geschliffen, gewachst, poliert, 165 cm,
Stefan Kresser, Holz, Metall
Reinkarnation
Aus einem indischen Speckstein-Block herausgearbeitet. Es enthält alle Geschlechtsteile, die es für eine Zeugung und neue Geburt (Wiedergeburt) braucht. Eine sinnliche, filigrane und liebliche Skulptur. 75 cm,
Stefan Kresser, Stein, Metall
Methusalem
Ein sehr alter, knorriger Olivenbaum dem ich gar nicht viel Form geben musste - trotzdem mit sehr viel Kleinarbeit von den verfaulten, schlecht zugänglichen Stellen befreit. Der Baum und das Holz spricht für sich. Die Natur ist die Kunst und das Kunstwerk - von mir nur befreit! Mit Bildhauer-Eisen bearbeitet, geraspelt, geschliffen, gewachst, poliert, 120 cm,
Stefan Kresser, Holz, Licht
Donna Cara
Ein sehr edles Material - dieser Marmor aus Guatemala. Je nach Lichteinfall scheint er manchmal grünlich, manchmal schwarz bis dunkelgrau. 40 cm,
Stefan Kresser, Stein, Licht
Keimling
Diesen weißen Marmor aus Laas habe ich selber im Werk in Südtirol geholt. Ich habe bald gemerkt, dass er sehr gut zu bearbeiten ist und so habe ich mich auf ein sehr filigranes Werk gewagt. 60 cm,
Stefan Kresser, Stein, Marmor
Ameli
Ameli shows how plants are vital to our lives and to our children who are the future. From deep within the mesh figures, plants grow and blossom. In life we watch babies become adults as they mature and flourish, but in contrast, it is these oversized mesh children who watch life grow inside them. As the plants require care and attention to thrive and bloom, so our children do too.
janine von thungen, Metall, Installation
Friendly Stalagmite 1
This sculpture is made of polymer clay and has glass eyes. The base is made of wood.
Gerd Rucker, Kunststoff, Holz
Friendly Stalagmite 2
This sculpture is made of polymer clay and has glass eyes. The base is made of wood.
Gerd Rucker, Holz, Kunststoff
Dies Alles ist mir untertänig (Enstehung)
Von der ersten Bearbeitung in der Werkstatt zum Endprodukt in der Ausstellung: großer brasilianischer Steatit (warmbraun) auf Holzsockel (Birke)
Martin Mittendorfer, Stein, Holz
Ländlebuab Max
Auch dieser Stein ist ein Findling von der Bregenzerach/Vorarlberg. Mich fasziniert die Maserung, die aus einem oft nicht beachteten Stein hervor kommt, wenn er bearbeitet und geschliffen wird. Bei solchen Köpfen lasse ich gerne noch ein Teile vom Ursprung-Stein stehen. 40 cm hoch
Stefan Kresser, Stein, Metall
Manhattan 2011
golden coast series, steel & gold leaf
Hans Some, Metall, Bronze
Wellenreiter
Bei diesem Stamm aus Zedernholz wollte ich eine etwas filigrane, mit vielen Durchbrüchen gestaltete Skulptur schaffen. Dadurch ergibt sich ein tolles Schattenspiel. Gesägt, mit Bildhauer-Eisen bearbeitet, geraspelt, viel geschliffen, gewachst, poliert, 180 cm,
Stefan Kresser, Holz
Athanor
A series of sculptures about universal laws in nature, forms in nature which can also be found in the human body. The Athanor, an oven used by the alchemists brings everything together.
Jaco van der Vaart, Kunstharz, Licht
Froschkönig
Die Verwandlungsfähigkeit beim Froschkönig fasziniert, nicht die Form sondern der Inhalt ist essentiell. Der Leerraum bietet die Möglichkeit sich zu sammeln, neu zu ordnen. Buche - Holzaufbau und Carbonlaminat / ultramarinblaue Lasur
Klemens Pasoldt, Holz, Kunstharz
Far and away
Kein materieller Inhalt, nur Raum - Hohlraum. Die Gedanken tragen den Betrachter in seine eigenen Welten, Träume und Notwendigkeiten. Buche - Holzaufbau und Carbonlaminat / rotviolett - mauvefarbene Lasur
Klemens Pasoldt, Holz, Kunstharz
Spirit of Manitou
Ein ganz besonderes und spezielles Holz ist die Blutpflaume. Als ich den halb verfaulten Stamm bekommen habe, wusste ich noch nicht, was für ein Schatz darin verborgen war. Nachdem ich die faulen Stellen großzügig entfernt hatte, kam innen ein sehr hartes, dunkles Holz zum Vorschein und außen war das Holz fast leuchtend hell. Dieser Kontrast fasziniert mich heute noch. Gesägt, mit Bildhauer-Eisen viel ausgehöhlt und bearbeitet, geraspelt, viel geschliffen, gewachst, poliert, 220 cm,
Stefan Kresser, Holz, Metall
Begegnung zweier Kreuze (Esther und Jonas)
Wie im Varieté: Sie - rot und aufreizend; Er - im schwarzen Frack; die Gegenspieler fordern sich heraus, umtänzeln sich - und stützen sich. Die Plastik erinnert an einen geöffneten Granatapfel und trägt dessen Symbolik Buche-Holzaufbau und Epoxidharz / rubinrote Lasur
Klemens Pasoldt, Holz, Kunstharz
Arche - erlöschend
Von jeder Tierart ein Weibchen und ein Männchen. Für neues Leben sind die Antipoden essentiell. Buche - Holzaufbau und Epoxidharz / blau-/rotviolett bemalt Bauholz-Unterbau / weiss lasiert
Klemens Pasoldt, Holz, Kunstharz
...weitersuchen...
CAPTCHA
This question is for testing whether or not you are a human visitor and to prevent automated spam submissions.

Menu
...loading...
...upload...
Bitte Pflichtfelder ausfüllen