árbol

Die Werkserie Touch besteht aus quadratischen Rahmen, hintereinandergestellt, schwebend, auf einem Federstahl gelagert. Die unbewegt, stillstehende Plastik als Ausgangspunkt: Bodenständig, statisch, mit Bodenhaftung, geerdet. Der Betrachter wird aufgefordert als Motor zu agieren, zu berühren. Das Objekt gerät in Schwingung; die Berührung ist sanft im Gleichklang oder nicht. Die Objekte sind kopflastig ohne den Kopf zu verlieren. Es entstehen neue Linien und keilförmige, trapezförmige Durchblicke
Jürgen Heinz, Metal, Steel

intervención en un parque con árboles centerarios. Por la gran extensión de los pinos es difícil de percibir la escala.
Hans Some, Metal, Steel

Material: branches of cherry trees Location: Allgäu, Germany
Judith Mann, Wood, Natural materials

Material: willow, wire, fog Location: Hilden, Germany Year: 2012
Judith Mann, Wood, Mixed Media

A steel wire stretched from the ground to the wall in an ascending line is dotted with twenty glass tubes, each containing a piece of rice paper. Written on each sheet is the name of a person and the words “Place and date of death Cavalese Feb 1998.” The wire and tubes are accompanied by wall text describing an accident that took place near the small village of Cavalese, Italy in 1998.
janine von thungen, Glass, Concrete

Remont Gallery, 26/02-02/03/2018 Exhibition: The Time Collectors
Nevena Popović, Textile

1. Just one among many 2. The far future 3. Evan beautiful flowers remain so for a while 4. Memento mori
Nevena Popović, Ceramics

Material: willow branches, fog Maße: Ø 3,94m Jahr: 2015
Judith Mann, Wood, Installation

Im Rahmen der Landart-Ausstellung ‚Horizonte‘ in Oberägeri entstand 2016 diese sich verändernde und vergängliche Skulptur.
Daniel Züsli, Wood, Mixed Media

Visitors to this year’s Royal Horticultural Society Show Garden at Chatsworth House, Derbyshire, will witness a highly unusual event. A monumental stone sculpture, which will be on display in the garden, is similar to Stonehenge and other ancient sites that are lit up on particular days of the year: it is precisely aligned with the movements of the sun. At an exact moment, 4.30PM on Saturday 9 June, the shadows cast by the sun will fit perfectly with outlines of shadows that are carved into the stone. The sculpture, which is named Holocene after the current geological epoch, takes the form of a series of large sandstone blocks, which come from the Chatsworth estate. Like a large sundial, the blocks cast a complex pattern of shadows at different times of day, meaning that the work repays spending time with and revisiting. Some of the blocks also have carved into them, in deep relief, the outline of the shadows that will be falling on them at a precise moment of time: this has been worked out exactly using computer modelling. The creator of Holocene is Stroud-based sculptor Ann-Margreth Bohl, working with digital designer Dan Hughes McGrail and stone carver Danny Evans. Much of Ann-Margreth’s previous work, which includes previous commissions for the RHS and the National Memorial Arboretum, has also explored themes of light and shadow, change and the passing of time. By using stone from the Chatsworth estate, Holocene’s carbon footprint is kept to a minimum. The work in a sense comes from the Derbyshire landscape (where quarrying has historically been an important industry), and it is due to return to it: after the blocks have been displayed in the RHS Show Garden, they will stay on the Chatsworth estate.
Ann-Margreth Bohl, Installation, Stone

Interactive light installation, exploring human connection and interaction with light.
Ann-Margreth Bohl, Mixed Media, Wood

Skulptur aus Mandelholz, inspiriert von der ägyptischen Mythologie - Preis auf Anfrage -
Markus Brinker, Wood, Stone

installation, collaboration rhizomate! & NoSoloLuz
Hans Some, Metal, Plastics

Ann-Margreth Bohl is known for her abstract stone carving, installations using beeswax, wooden frames, light and sound. Recent graphite drawings on black card are rooted in her childhood experiences of light in sacral spaces. Her style is minimal and direct, yet ephemeral. ‘Lichtspielhaus’ 2014 a black room with a backlit beeswax wall, aimed to give the viewer an immersive experience of the material beeswax with its smell and warm yellow light penetrating a confined black space. ‘3x3x3’ 2016 in this site specific underground light installation the viewer had to enter through a narrow entrance to reach a confined dark space where kinetic wooden frames cast mesmerizing shadow projections on the end wall of a cellar. Walls have fascinated Bohl for as long as she can remember “I grew up close to the wall dividing east and west Germany and visited often, I could not understand why I was able to look across the wall ‘Die Mauer’ but was not allowed to walk across.” Her work is heavily influenced by the likes of James Turrell, Richard Serra, Giuseppe Penone and Pierre Soulages. As a keen collaborator, Bohl has developed projects with fellow sculptors, composers and sound designers. During 2017 she was commissioned by landscape and garden designer Paul Hervey-Brookes to create ‘Passing Light’ a sculpture/installation, exploring the passage of time through the movement of light and shadow through and around a solid wall, this public sculpture was made of corten steel and will be permanently displayed at the National Memorial Arboretum from October 2017.
Ann-Margreth Bohl, Installation, Light

iLlegal housing III. - 2018 in ccoporation with Ien van Wierst, Ses Roquettes, Islas Baleares, Spain
Herbert Hundrich, Natural materials, Synthetic resin

H 180 x B 21 cm 12 cm distance plywood, varnish, acrylic paint The wafer-thin strips hanging loosely on the wall and moving in the current of the air are pendent and emblematic of the fleetingness and immateriality of light. The wooden/plastic strips hang on a nail 5/12 cm in front of the wall. Their number and their distance from each other depends on the spatial conditions. The individual strips are to be hung individually and and/or freely combinable in color and number. FF 6 The strip has the primary colors painted on the back. Where they overlap, secondary colors emerge in the projection onto the wall. Together, they produce a color spectrum that is contained in daylight. _____________________________ H 180 x B 21 cm 12 cm Abstand zur Wand Sperrholz, Lack, Acrylfarbe Die hauchdünnen, locker an der Wand hängenden und sich im Luftstrom bewegenden Streifen sind Pendent und Sinnbild für die Flüchtigket und Immaterialität des Lichtes. Die Holz-/Kunststoffstreifen hängen jeweils an einem Nagel 5/12 cm vor der Wand. Ihre Anzahl und ihr Abstand voneinander hängt von den räumlichen Gegebenheiten ab. Die Streifen sind einzeln hängbar und/oder frei kombinierbar in Farbe und Anzahl. FF 6 Der Streifen hat auf der Rückseite die Primärfarben aufgemalt. Wo sie sich überlappen entstehen in der Projektion auf die Wand Sekundärfarben. Zusammen ergeben sie einen Farbspektrum, welches im Tageslicht enthalten ist. http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&bilder=sculpture&navi=ff&unterkat=ff01-09&kat=b&bild=6#id6 http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=video&video=2
Alexander Lorenz, Wood, Synthetic resin

Installation in glass and rattan photos by the artist and Jan Wilms
Alexandra Bremers, Natural materials, Glass

seating furniture material: ply wood pine finish: antique wax polished / leaf gilded process: programmed structure, cnc-produced 14 pieces on a 3-axis-mill, assembled and polished by hand
Bergit Hillner, Wood, Natural materials

Tischplatte ... zwei prachtvolle Zierkarpfen umrunden sich in unendlich scheinender Detailtiefe. Lindenholz natur, gelasert,
Bergit Hillner, Wood

The connection between human, and the link between human and nature. We are all part of the universe and therefore we are all connected. I portrayed human in the state of togetherness and oneness. One’s actions will affect all other.
Mehnoush Modonpour, Clay

Ring ... die kleine Urlaubs-Erinnerung | pure silver, 6 diamonds and the centerpiece is a shel found on a cap verdian beach 2017 (still a nice memory)
Bergit Hillner, Metal, Natural materials

Schmeichelsteine sind von Gestern ... heute gibt es die Hosen-Taschen-Ladys Handlich und zum garantiert Anfassen ... diese kleinen Werke entstehen zwischendurch aus verschiedenseten Materialien und je nach laune in schlank und biegsam, bis üppig weich ...
Bergit Hillner, Wood, Bronze

bronze, stainless steel & steel 2017
Hans Some, Bronze, Metal

die Tasse für den morgentlich riesigen Milchkaffe ... hilft auch am Nachmittag ... warme hände sind inklusieve ... Porzellan glasiert ...
Bergit Hillner, Ceramics, Glass

inspired stones, 2017 copper & stone variable
Hans Some, Stone, Bronze

GOLDEN COAST SERIES Stainless steel & steel, gold leaf 24K
Hans Some, Metal, Steel

The forest is a place of transformation. Nature is changing continuously, offering endless possibilities. This funnel offers a place of concentration to receive the unexpected.
Karin van der Molen, Metal, Textile

The collector’s children recited their own names and the sound waves were recorded and represented in hand blown Murano glass tubes. These are set on iron rods which prevent an old tree from collapsing; representing the youth supporting the older generation. The texture of the glass resembles the bark of the trunk; symbolizing the similarities passed down through family. With the different lights of day the unique red colour appears alive; the work changes as the glass fluctuates from flaming bright to glowing warm or fading into darkness.
janine von thungen, Glass, Glass

The work is not only dedicated to the love between woman and man, but also of general love. Man should not be alone, he needs another half. Two figures make the circle. The circle is a symbol of perfection.
Irodion Gvelesiani, Stone

from the Vitruvian Man into the insect...
noam ben-jacov, Mixed Media, Textile

Participated the international sculpture biennial “Sculpture by the sea Aarhus 2015”. It became permanent installation in the public square in the city.
Savako, Plastics

Serie: Pulp-Fiction Pappmache Nur bedingt für den Aussenbereich geeignet.
Regine Jonas, Natural materials, Paper

“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, Plastics

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, Natural materials, Metal

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, Natural materials, Metal

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, Others

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, Natural materials

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, Natural materials, Metal

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, Wood, Installation

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, Natural materials, Textile

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, Natural materials

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, Ceramics, Concrete

SERIE: Pulp_Fiktion_Skulpturen Pappmache Nur bedingt für den Aussenbereich geeignet
Regine Jonas, Synthetic resin, Paper

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, Natural materials, Metal

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, Metal

inlands #1 2017 steel & stainless steel
Hans Some, Metal, Steel

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 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, Plastics, Plastics

"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, Wood, Metal

"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, Wood, Performance