Margarete Adler

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.


Dimensions : 90 cm x 58 cm x 33 cm (Height, Width, Depth)
Weight : 8 kg
Year : 2016
Material : Plastics
Technique : Plastic molding
Style : surreal, symbolic, figurative, Pop-Art

Margarete Adler

Beauty on a large scale; radical breaks on a small scale; my art in the middle. I illuminate the inner effects of interpersonal relationships on the outside.

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The figure descends from fairy tales, myths and transcendental spheres of fairy tales, myths. She appears white, almost transparent, but with fine speckles of rouge, modelled as an Elizabethan ideal of late Renaissance beauty. Her feathery hair is like a snow flurry crown. The purity is nevertheless disturbed by the uncanny illumination of the eyes, which – in a reaction to tender strokes – begin to cold glow.
Margarete Adler, Wood, Plaster
Wenn Eine einen Vogel hat
r, as we say in German „Someone has a bird“ Portrait of my mother and the fabolous budgie Manfred. In this sculpture my mother has "a bird", but in fact it is my bird, the magnificent budgie called "Manfred". In fact our whole family has "a bird"- and not just one. Manfred has his own bird - Günther. My mother mimicken Manfred and Manfred imitates my mother.
Margarete Adler, Ceramics, Concrete
Mother love
A mother's love can be painful. The transfigured romantic projections of a good and loving mother and the contemplation of the real person do not create a homogeneous picture. The different projections do not add up to a homogeneous picture but instead create a lot of cracks and fractures.but rather cracks and breaks:  Sewing the parts together with a golden thread is both a material operation and a way of depicting the ambiguity of motherly love.
Margarete Adler, Plastics
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, Plastics
A Moment in a Glance 1917-2017
A young man, bald shaven, holding a skull in his hands. We don't know what he thinks, what he feels, who he is. His eyes are closed and he seems lost in concentration, his fingers rest firmly on the skull of another soldier. Was it a young man who died a century ago in France, perhaps? One stares at us, the other looks inside.
Margarete Adler, Plastics
Silent Maids or a Kimono for the dead
One of the most important Japanese virtues of women is quiet humility and modesty. Wives today still silently serve the family and the husband. Shinin awase translates to "wrong side" and signifies winding the kimono to the left. Only the deceased are dressed with the kimono on the "wrong side". The colour white is worn at funerals AND weddings.
Margarete Adler, Plastics, Synthetic resin more...
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