Pontoon

Belly and boat, arise and being on the way, salvaged and rooted.
Antoinette Donkers-Dekker, Keramik, Keramik

‘believe in me, love me, take me in so we will be connected. 'Everything is connected.’ A selfportet, refering to Christian traditions. The head and hands are cast in crystal glas. The inside is etched the rims polished. Inside there is red wine, diluted with water.
Fleur van den Berg, Glas, Mixed Media

Eine Mutter mit zwei Kindern wartet. Wartet auf Asyl. Wartet auf Hilfe. Wartet auf einen netten Menschen. Sie tröstet und beruhigt ihre Kinder.
Manuela Clarin, Marmor

A sculpture of 4,5m high made with steel, painted and oxidized. Symbolizes a miner's house.
Alex López Vega, Stahl

Forest, porcelain white pure trees, rooted in mother earth.
Antoinette Donkers-Dekker, Keramik, Keramik

Reduziert-figürliches Beton-Objekt.
Stanklopfer, Beton

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

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

Gegenständliche Sandsteinskulptur im botanischen Garten Jeskyně Blanických rytířů in Rudka. Mezinárodní Vytvarné Symposium Kunštát.
Stanklopfer, Stein

Made from solid cast bronze on a square granite plinth.
Sophie Marsham, Bronze, Metall

Iron and wood sculpture painted in red.
Alex López Vega, Metall

Reduziert-figürliche Marmorskulptur.
Stanklopfer, Marmor

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

iron rod and wood sculpture representing a barroque column.
Alex López Vega, Metall

46 carved wood figures , each 2.5 m tall. A travelling installation around Europe.
Robert Koenig, Holz, Mixed Media

Site: bank of the canal de Bourgogne / harbour of Migennes (France) wood, plastic containers, aluminiun
Cornelia Konrads, Installation

An installation of six corridors, at the end of each corridor can be seen a further space visible through the window of a closed door. These further spaces are interiors of abandonment, littered with the ruins of activities. (Dimensions given below are for each individual model interior, as the layout of the corridors depends on exhibition space. This work is being developed with further interiors relating to the overall themes) The model interiors are based on a specific series of themes that tie the rooms together into an interrelating series of concepts. These concepts relate to speculative histories of the contemporary connections between the magical occult and the development of autonomous fighting vehicles (drones for example). Initially these seemingly unrelated épistemes were chosen for lecture that dealt with producing false knowledge, but research has uncovered connections, especially with regard to the cultural (in the widest sense) meanings of weapons (the tank as a demonstration of power) and the nature in which such machines are regarded as operating away from human agency. It is the intention that images of the model interiors, associated drawings, texts, etc., will form the basis for an artist’s publication at a later juncture. A second set of ideas reference (UK) science-fiction television programmes, and science-fiction films, of the 1960’s and 1970’s (the artist’s formative years). The main theme is that of hauntology, the ruins of a future that did not take place. Overlaid over this are indications that industrial/financial philosophy that once seemed central to globalization also contained the seeds of its own destruction. Formally these model interiors also refer to museum dioramas, puppet theatres, (and to narrative sculptures to be found in European sacred spaces). There is equally the influence of the numerous abandoned industrial and military buildings to found in Taiwan, spaces that exert a fascination as fragments of unknown narratives. The model interiors thus map elements of autobiography, with memories of the UK interweaving with current experiences of Taiwan.
Duncan Mountford, Installation, Licht

Photographed in the Highlands of Scotland, this sheep sculpture is life-sized and made from reclaimed objects.
Sophie Marsham, Mixed Media, Metall

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, 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

Landesmuseum für Natur und Mensch Oldenburg 2006
Michael Lukas, Mixed Media, Installation

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

Created for an event for the Adobe software company, made entirely from Bic biros.
Sophie Marsham, Mixed Media, Kunststoff

'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' from the series 'Nomadic Vases'
Nicolet Boots, Gips

Klassisch, realistisch. Im Freizeitlook.
Marcel Börlin, Bronze

Wegmarken Ute Deutz/Rainer Düvell Installation zur BUGA 2015 bei Böhne
Ute Deutz, Metall

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

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

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, in Wachs modelliert und in Bronze gegossen.
Jörg Engelhardt, Bronze, Metall

Eine überdimensionale Figur aus Eichenholz. Sie entspringt in einem Quadrat und entwickelt sich nach obenhin zur Figur, dem Chaos entfliehend.
Lukas Schmid, Holz, Holz

A mountain river as a simbol of infinite life. Two stones - two ways of existence. Wich way do you choose?!
Grigorio Antipov, Stein, Naturstoffe

Frei Arbeit aus der Reihe Blätter. In Privatbesitz.
Benjamin Schulte, Holz

Abstrakte Frauenfigur, gefertigt aus Apfelholz
Lukas Schmid, Holz, Metall

This work envelopes the female domestic chores that often fall into a woman’s lap...the invisible labor women carry
Michelle Gallagher, Ton, Keramik

Seen from a low perspective, this woman figure shows herself in a confident pose.
Nicolet Boots, Gips, Textil

Fichte verkohlt geölt / Pruce charred oiled Sockel Granit /socket granite
Andreas Mathes, Holz

Das größte Objekt aus der Reihe Blätter.
Benjamin Schulte, Holz, Papier

Männliche Figur, Lindenholz, Temperafarbe
Lukas Schmid, Holz, Metall

Jap. Schnurbaum geölt / Styphnolobium japonicum oiled
Andreas Mathes, Holz

Abstrakte Mohnkapsel, Eiche+Stahl Privatbesitz
Lukas Schmid, Holz, Metall

Charons Boot (Schifffisch) Bronzeguss p0liert (8 Ex.)
Regina Altorfer, Bronze, Bronze

"Fern in mir", mein Beitrag zum Symposium "Remake" des Kunstvereins Ottobrunn
Wolfgang Sandt, Marmor

Kastanie, Feuer, Öl / chestnau, fire, oil
Andreas Mathes, Holz

Material: Bronze Weight: 0,6kg Year: 2015
Judith Mann, Bronze

32 carved and polychromed figures, each 2.5 m tall. Exhibited in Salisbury Cathedral, England.
Robert Koenig, Holz, Installation

flame- Fire - made from Oak wood
Markus Brinker, Holz

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

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