Zeewierwoud

Reconciliation between stone and iron.
Eduardo Domínguez Cabrerizo, Stein, Metall

PERSONAGGO with Statuario Marble of Carrara, French Red Languedoc Marble, Travertino Noce, Rosso di Verona and Russian Travertine, Added Oil Paint, Glass Eyes.
NEAL BARAB, Stein, Marmor

Drawings are a necessary part of the ongoing project The Office of Arcana, both as plans for small sculptures and as exhibited works within the overall installation. All drawings are A3, and a mix of pencil, ink, watercolour on 140gsm acid-free catridge paper
Duncan Mountford, Papier, Mixed Media

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

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

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

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

Another interpretation of The Last Supper. In comparison with the accepted iconography, the image of Judas is not recognizable but is emphasized the Chalice.
Gevorg Tadevosyan, Bronze

Love is the source of virtues... Without love, there is no hope, no faith․․․
Gevorg Tadevosyan, Bronze, Metall

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 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

Lunch boxes, many, metallic installation, puzzle. Imprinting. boundaries. liberation. hunger.
Cate Wind, Metall

Description in German, English and French - please scroll down Auf der Spur der Vergänglichkeit und der Suche nach harmonischer Bewegung inmitten eines empfindlichen, dünnen Steins. Und wider Willen wird man Zeuge einer unerwarteten Rebellion des Materials. Shit happens... Tracking evanescence, in search of the harmony of curves midst of a narrow and fragile mineral. But sometimes the stone fights back, making us witness of an unexpected rebellion of the material. Shit happens … Traquant l'évanescence, le geste recherche l'harmonie de courbes entrelacées au sein d'un matériau fragile et étroit. Mais parfois, la pierre se rebiffe et se brise. Shit happens...
Jens Linnek, Naturstoffe, Stein

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

Holzrelief, gefasst und mit Epoxidharz ausgegossen
Lisi Deutsch, Holz, Kunstharz

Approach is made from Sweet Chestnut lengths cut from the coppiced woodland around an outside theatre. Long trunks frame the path, while slabs form henges along the way. These trees form a slightly unruly colonnade.
Grace Adam, Holz, Naturstoffe

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

Description in German, English and French - please scroll down Essbare Insekten als ökologischere Alternative zu unserem derzeitigen Proteinkonsum rücken heutzutage immer mehr in den Fokus unserer westlichen Kulturen, obwohl dies für große Teile der Welt ganz normal ist. Als ich mich für dieses Thema interessierte, hatte ich eine surrealistische Idee... Was wäre, wenn Heuschrecken mit ihren verheerenden Auswirkungen auf die Fauna von Pflanzen zurückgeschlagen würden, gefressen und ausgehöhlt: HollowHopper! Edible insects as a more ecological alternative to our current protein consumption is nowadays coming more and more into the focus of our western cultures, even though that it is quite normal for large parts of the world. When I got interested in this topic, I had the surrealistic idea of... what if grasshoppers with their devastating effects on fauna were fought back, eaten and left behind by plant life: HollowHopper! Les insectes comestibles en tant qu'alternative plus écologique à notre consommation de protéines actuelle, entrent de plus en plus dans le champ de vision de nos cultures occidentales, bien que cela soit tout à fait normal dans d’autres parties du monde. En s'intéressant à ce sujet, j'ai eu l'idée surréaliste de... Et si les sauterelles avec leurs effets dévastateurs sur la faune étaient combattues par les plantes, mangées et délaissées : HollowHopper!
Jens Linnek, Stein, Naturstoffe

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

This work is made for people who nobody can understand them or their feelings, rather said that the people around that person always misunderstand him/her.
Aziz Anzabi, Bronze, Metall

Aus dem Drang und der Notwendigkeit etwas geschmeidiges und glattes zu erschaffen entstand diese Form - letztendlich jene einer ungeborenen Kreatur.
Jens Linnek, Bronze

Thüster Kalkstein, Schwarzweiß-Belichtung
Thomas Lucker, Stein

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 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

3-D print, titanium (grey)and stainlesssteel (silver). 3_D drawing made after a scull from a young dove.
Alice W Bakker, Metall, Sonstige

I've taken the brick out of content. I lifted it to reinforce the feeling of lightness. The circles are deformed. 1/1
Viviane Brickmanne, Kunstharz, Metall

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

Description in German, English and French - please scroll down Die Darstellung des Unsichtbaren, die ausgehöhlte Form, welche sich vom Materiellen löst und sich wie ein poetisches Feuer zu erheben scheint. Trying to represent the invisible. A hollow shape of the non-existing carving. Allowing the material to be released from any gravity, like poetic fire. Représenter l'invisible. Sculpter en creux la forme de ce qui n'est pas. Permettre l'envolée d'une matière libérée de toute pesanteur, comme un feu poétique.
Jens Linnek, Stein, Beton

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

Here the brick refers to suffering that is represented by the red nails "wounding" it. The two parts of the brick can be placed in many different ways. It is made of resin, the nails are in bronze. 1/1
Viviane Brickmanne, Kunstharz

"Stern zu Bethlehem" / Stadt Linz
Konrad Feichtinger, Metall, Mixed Media

Holzrelief, Esskastanie, patiniert, H 90 x 105 cm
Alexander Heil, Holz

Bronze
Dagmar Vogt, Bronze, Bronze

This sculpture symbolizes devastation. The letters attached refer to destroyed cities as a result of human actions: Alepo(Syria); Palmira(Syria); Chernobyl(Ukraine); Saná(Yemen); Beirut(Lebanon); Bagdad(Iraq); Nagasaki(Japan); Kabul(Afghanistan); Homs(Syria); Jartum(Sudan); Mogadiscio(Somalia)... Sculpture to be hanged up, the upper part separately or together with the small odd pieces that are falling. 1/1
Viviane Brickmanne, Metall

Prekärer Dialog - Janus hält Zwiesprache
Wolfgang Sandt, Stein

10 Schalen aus Eis im Wald bei Jukkasjärvi, Schweden
Ilka Raupach, Naturstoffe

Freistehendes Relief, Eiche, patiniert, H 45 x 48 cm
Alexander Heil, Holz

Kraft | Bronze | aus dem Jahr 2020 Auflage: 3 . . Bronze Edition: 3
Helga Kaes, Bronze

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

Polyester, Glasfaser, Autolack, Holz Acrylfarbe, Lack
FOS, Kunststoff, Holz

I made this pendant to collaborate with the NGO Rescate (Acnur) that is rebuilding homes, hospitals and schools in Alepo (Syria) recycling rubble. The bricks are covered with a layer of gold (24 carats) or silver; or lacquered in red, black or brick red. This brick is patented and signed.
Viviane Brickmanne, Kunstharz

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

Polyurethan – gefärbt, GFK, Autolack
FOS, Kunststoff, Kunstharz

This work is another version of Grace I. I make often two versions of a work, maybe to amplify its content. The difference with Grace I is very subtle, it is about rythms between circles and planes that are managed differently. 1/1
Viviane Brickmanne, Kunstharz

Found in a dune and polished in a port, Embleton speaks of permanence when the waves come crashing. The artist and the landscape persevere. Crystalline frosting on the underside moves from Northumberland skies to the whispering pinks of the burnet roses and bloody cranesbills found in the dunes. A gilded area at one end highlights a major break-up. Absence makes the heart grow fonder.
Russell Coleman, Stein, Granit

I like to introduce decayed elements into the brick, such as these long old nails. 1/3
Viviane Brickmanne, Bronze

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein

Juxtaposition of round and spiky, both parts necessary to enhance the other parts quality 1/1
Viviane Brickmanne, Bronze, Sonstige

Eine schwimmende, unbeachtete, flaue Situation… der Frauen. Scheint alles transparent! Aber… wie im Aquarium eingesperrt? Hommage an die große Bildhauerin Ruth Asawa (1926-2013), die ihre Skulpturen zu Hause schuf - unter Mitwirkung ihrer 6 Kinder. Hommage an die große japanische Künstlerin Toko Shinoda, die im März 2021 108-jährig starb, die die Entscheidung traf, auf den Weg zu verzichten, der für Frauen ihrer Generation vorbestimmt schien. „Ich habe nie geheiratet und habe keine Kinder
Solange Keschmann, Kunststoff

kleines Trinkgefäss ... Abformung eines Espresso-Bechers in Porzellan mit verschiedenfarbigen Glasuren.
Bergit Hillner, Keramik, Glas