Marcel Börlin

Holding the wheel of life

Vielseitig angewendetes Symbol für Einheit und Zusammenhalt
widerspiegelt das Rad des Lebens Simplizität, Potenzial und Vollendung ...

Der ästhetische Aspekt kommt hier besonders zum Ausdruck und füllt den Raum mit dem stillen Ausdruck von Vollkommenheit.

Die Stärke des Zusammenhaltens wird hier durch das Rad repräsentiert.

Vollständig und im Gleichgewicht steht das Rad des Lebens ohne Anfang und Ende als ein in sich wiederholender, vollständiger Kreislauf.

FACTSHEET:

Dimensions : 34 cm x 19 cm x 10 cm (Height, Width, Depth)
Weight : 3 kg
Year : 2018
Material : Bronze
Technique : Bronze casting, Casting
Style : figurative, abstract, classic

Marcel Börlin

Marcel Börlin

also interesting:

What´s my age again
The figures depicted as protagonists of situations in everyday life enable me to draw attention to the current social situation, to the position of people in society, to their loneliness. Ethical elements in my works aim to teach and simply illustrate extraordinary situations arising from the essence of human existence. This series focuses on the man. The problems he encounters on his journey through life, which determine his value system.
Miroslav Trubač, Plaster, Wood
Cascata
yew tree - water falls
Markus Brinker, Wood
Wenn Eine einen Vogel hat
Or, 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
noch Fragen?
Stelengruppe alte Fensterbeschläge,Wellpappe, Karton, Eisenfeilspäne, Metallständer
Angelika Lill-Pirrung, Installation, Mixed Media
Icarus II
The figures depicted as protagonists of situations in everyday life enable me to draw attention to the current social situation, to the position of people in society, to their loneliness. Ethical elements in my works aim to teach and simply illustrate extraordinary situations arising from the essence of human existence. This series focuses on the man. The problems he encounters on his journey through life, which determine his value system.
Miroslav Trubač, Plaster, Synthetic resin
CUBES 1.0
CUBE aus MDF, bemalt und bedruckt. Veredelt mit 2K Kunstharzlack. Steht auf Ecke oder kann in einen Rahmen für die Wand montiert werden.
Raschi Küng, Wood, Mixed Media
Free your mind, imagine your own
Latexrubber and/or glass
Alexandra Bremers, Natural materials, Installation
MEANWHILE
Thüster Kalkstein, Schwarzweiß-Belichtung, Acryl
Thomas Lucker, Stone
Mein neuer Raum/my new showroom
Brele Scholz Holzfiguren/wooden sculptures
Brele Scholz, Wood
Stripes
CUBE aus MDF, bemalt und bedruckt. Veredelt mit 2K Kunstharzlack. Steht auf Ecke oder kann in einen Rahmen für die Wand montiert werden.
Raschi Küng, Wood, Mixed Media
Art.Work.No.2
act in limewood, 140cm, pigment & natural resin
Victor Mangeng, Wood
Keilkörper "1440 Grad"
Material: CORTEN-Stahl, Hohlkörper verschweißt und verschliffen. Maße: H-B-T ca. 125 x 95 x 85 cm
Faxe Müller, Steel, Metal
interaktionen
Konstellationen von zwei oder mehreren Teilen verdeutlichen, dass mit der Bearbeitung eines Steins auch der umgebende Raum gestaltet wird. Der Zwischenraum zweier Skulpturen kann als optisches Spannungsfeld beinahe die Qualität eines dritten Körpers gewinnen.
Daniel Priese, Stone
plantwoman
‘it all happened before she knew it, but it never really had been different.’
Fleur van den Berg, Mixed Media, Glass
Sunny Stalk
Limited edition Solar Sculpture http://www.schoeren.nl/_limited_edition_solar.html
Bert Schoeren, Mixed Media, Wood
Klangskulptur
Auf einem Stahlblechwürfel mit einem nach oben gerichteten Schallloch sind jeweils ca. 4 Eichenholzstäbe als Klangstab montiert. Der als Basis wirkende Kubus tritt in seiner Erscheinung zurück, wirkt aber als Resonanzkörper, der auch anschlagen werden kann. Die darauf montierten, mit der Kettensäge vierkantig geschnittenen und strukturierten Klangstäbe zeihen durch ihre geschwungenen Formen die visuelle Aufmerksamkeit auf sich.
Faxe Müller, Wood, Wood
Traces 5
Free-standing work using tree branches, cotton gauze and color.
Marvin Liberman, Wood, Textile
golem, boneman
A ceramic sculpture about the cycle of life. Everything we waste comes back in the system. The figure is a creature that originated as a result of human action, a golem, a boneman and takes death with it in the form of dead animals such as birds, rats, mice, bees, butterflies and dragonflies. More information and images at: https://www.fleurvandenberg.nl/golem-boneman/
Fleur van den Berg, Ceramics, Natural materials
Ein Ei dreht sich aus dem Holze
Die beginnende Blüte einer mysteriösen Pflanze.. Aus Eichenstamm gehauen geölt, mit Ölfarben bemalt, auf Beton Fusssockel.
Valentin Rihs, Wood
"Keilkörper Schädel III."
Stahl, geschweißt und geschliffen
Faxe Müller, Metal, Steel
Primäre Spannungen, (Ge)Dichte, Tropfstein - Kupfer
Primäre Spannungen, (Ge)Dichte, Tropfstein - Kupfer Unikat
Jules Andrieu, Metal, Steel
invalid borders
Link to video: http://heidundgriess.de/ausstellungen/ungueltige-begrenzungen-invalid-borders/ „invalid borders“ // Installation // wooden sticks, manipulated rotating washingmachine motor // ca. 230x 350cm // 2018 This Installation was part of the soloshow „pure simulation“ at Galerie Bridget Stern, Hamburg Germany // 2018. It shows a constantly changing room in its borders, dimensions and appereance. link to video: http://heidundgriess.de/ausstellungen/ungueltige-begrenzungen-invalid-borders/
heidundgriess, Wood, Metal
Neandertaler
Über Bostproduktion für INDIAN LAND MUSEUM entstandene Neandertaler. Aus Polyurethanschaumplatten geschnitzten und geschliffen.
Valentin Rihs, Mixed Media, Plastics
berenjas, bearscoat
The ‘bearscoat’ is specially made by Fleur for her lover. All the bears are second hand bears. We humans have a schizophrenic relationship with animals. We often find animals sweet and cute. They appeal to the imagination and we often attribute human qualities to them. We make stuffed animals and they appear in fables, fairy tales, stories and films. We keep pets and connect with them. At the same time, we often eat meat, some wear fur and keep building, which means that animal habitats disappear. The teddy bear is a mutilated caricature of a real bear. She is soft and harmless. The teddy bear is the most loved stuffed animal, an icon. He symbolizes the relationship between humans and animals par excellence. The bears are shaped into a jacket, they form a second skin. It offers protection, but it also hides. She hides her lover in the coat and makes him something else: he becomes a huge animal that you can hug. In addition to being her lover, the man is also a symbol of mankind. The jacket made of 'skinned' hugs, as a fashionable phenomenon, symbolizes the spirit of the times and the dominance of mankind.
Fleur van den Berg, Textile
pool // access point
As part of the action "access point", attention was drawn to the inaccessibility of water for the public in Hamburg, which accounts 1/3 of the city area but is not available for the public. The pool is a painted wooden frame, that represents a silhouette of a public swimming pool.
heidundgriess, Wood, Plastics
leeghoofd, fool on the hill
empty headed, and yet, like 'the fool on the hill', he sees it all, knows it all, his brain contains the universe.
Fleur van den Berg, Glass
Installation in 3 rooms
Installation containing text excerpts from Shakespeares dramas, the chinese philosoph Chuantze´s texts and a projection of a rose on fa olded metal mesh.
Christine Candolin, Installation, Mixed Media
CREU DE SANT ANDREU
Public sculpture located in the church and main square of the village of Sagàs (Catalonia). Made in 2018
Ernest Altés, Granite, Metal
Die drei letzten ihrer Gattung
Eine Seejungfrau erhebt sich aus den Fluten und berührt zärtlich einen kleinen Fisch. Sie schaut skeptisch und etwas zornig um die Ecke, denn sie wundert sich über die Menschheit, die all ihren Müll gedankenlos überall liegen läßt, so dass der Grund des Wassers schon so verschmutzt ist, dass auch der grßere Fisch, der rettungssuchend zu ihr empor blickt, nur noch mit den letzten Atemzügen zu schwimmen vermag und bald kein einziges lebendes Wesen mehr in diesem Gewässer verbleiben wird.
Manuela Clarin, Mixed Media, Wood
Arachne – metamorphosis
The message conveyed through my sculpture is about the skilful, industrious and sensitive but at the same time strong woman, qualities that have remained eternal. The message can also be read in another key: as a parable about the power of art and the secular antagonism between creativity and authority. Or about commercial competition, where the status of winner is the privilege only of the great and powerful, a dominant mechanism that has not changed from ancient civilization to the new contemporary gods of the era of globalization (large corporations). In my sculpture, I created the moment of the metamorphosis of the young girl Arachne, by reducing her body, becoming a spider with a big belly from which she draws the thread (Poet Ovid). In ancient Greek legend, the world's first spider was born out of a woman's pride. The goddess Minerva (Athens, in the civilization of ancient Greece) was recognized as the most skilled weaver but a young girl, Arachne, surpassed her, although this girl "Neither by rank or nation is famous, but by skill" (Poet Ovid) . In the competition between the two, the fabric of Athens was predictably large: a scene of Olympus and a tribute to the glory of the gods. The canvas of the young girl Arachne is more beautiful, she surpassed the goddess in the craft, but in her canvas she described the gods as carnal beings whose whims, passions and petty jealousies create suffering in the lives of mortals. In revenge, the goddess Minerva punished the young girl Aracne, tore her fabric and hit her forehead three or four times with a shuttle. Arachne tried to hang herself but Minerva saves her by telling her "She lives, but still hanged" and sprinkles her with Hecatean poison (a herb of the goddess of the Hecate spells) and metamorphoses her into a spider to weave into eternity. Video: https://youtu.be/kyrgEh_2-JU
Vasile Stefanoiu, Marble, Video
Holding the wheel of life
Vielseitig angewendetes Symbol für Einheit und Zusammenhalt widerspiegelt das Rad des Lebens Simplizität, Potenzial und Vollendung ... Der ästhetische Aspekt kommt hier besonders zum Ausdruck und füllt den Raum mit dem stillen Ausdruck von Vollkommenheit. Die Stärke des Zusammenhaltens wird hier durch das Rad repräsentiert. Vollständig und im Gleichgewicht steht das Rad des Lebens ohne Anfang und Ende als ein in sich wiederholender, vollständiger Kreislauf.
Marcel Börlin, Bronze
Time and movement VII
On a piece of driftwood rescued from river Ebro, the artist has continued the carving process already started by the atmospheric agents: sun, water, wind, ice,... as well as other living things: mainly xylophages. This work is thus executed by quite a group of modelling "artists".
Eduardo Domínguez Cabrerizo, Wood
Pygmalion & Galatea – metamorphosis
I sculpted in marble the moment of metamorphosis, as described by the great poet Ovid, who lived the last years of his life in Romania at Tomis ((Constanta today), being forcibly exiled from Rome in the year 8 AD and was buried approx. 9 years later in the same locality. . . The moral of my sculpture: eternal beauty, found exclusively in art. I sculpted the moment of the metamorphosis, setting in motion Galatea’s silhouette, abandoning the eternal condition in favor of the perishable. Detachment of the statue to awakening to life leaving the body in the negative, revealing the sequence of movement from the right position of the statue to the downward position on the pedestal, both in front and behind the sculpture. I gave the free spaces meanings of stihii and centrifugal coverage, to suggest movement, with the appearance of a disorder assumed to contradict the static attitude of classicism, while the naked silhouette of Galatea benefits from retained details vaguely reminiscent of the classical manner. At the top of the sculpture, in front, I carved the negative mark of the hand of the goddess Aphrodite that gave life to the statue. The features of Galatea's face are vague, without details. I simply sculpted Pygmalion, without clothing details, I gave importance to the position of the body, after long hesitations between several variants and the facial expression is amazement and wonder for the miracle that took place. His face is slightly caricatured, expressive, specific to the contemporary style. Here, as in other sculptures, we followed the principle that while painting is a play of shadow and light, sculpture is a tandem between full and empty in which light plays. Video: https://youtu.be/0MlVDSyc2PI
Vasile Stefanoiu, Marble, Video
silent monument
a monument for war victims, on a very small scale 'pile of legs, look like a pile of firewood'. The ends of the legs are polished to shine.
Fleur van den Berg, Glass
Balenciaga 3
Mixed technique, Iron casting and wood
Alex López Vega, Wood, Stone
Martian and moonlight
Elm, lilac and pine, internal light, wax.
Miłosz Płonka, Wood
Lurra - Earth
Photography, casting, wood, mixed technique.
Alex López Vega, Metal, Paper
The Bridge
Blackwood Pathways - Sculpture in the Wild, Lincoln MT (USA) Site: public sculpture park, dry creek bed in a forest area Material: lodgepole pine, weathered barn boards, steel rope Length: 66 Feet (20 Metres) Height: 13 Feet (4 Metres)
Cornelia Konrads, Installation
Little Lady (Nr. 168)
Weiblicher Torso aus Thüster Kalkstein, teilpoliert, Eisenhalter
Silvia Withöft-Foremny, Stone
MADREAEON, ILIVEMYLIFETREECYCLE
I am literally part of the recycle system, when I die, my body will be burned or decompose and live on as little particles in other things. I have also given life, which makes me part of the reproductive system. With the work 'MADREAEON, ILIVEMYLIFETREECYCLE' I made a portrait of myself as part of the recycle system and as a transferee of life. The posture of the woman is open, without a gene, the legs graceful like a Venus, the arms like branches of a tree. It is also like a blood vessel system, full of life.
Fleur van den Berg, Glass, Glass
Fraternidad - Fraternity
Simbole of the fraternity. Two people who engage Stone and harribola (in basque, round stone, from Gaztelugatxes' beach) ). Steel casting
Alex López Vega, Stone, Steel
Hammer
Ceramic flower hammer
Michelle Gallagher, Ceramics, Ceramics
Shahrázáds fortellinger II
at Sandnes Kunstforening Installation Acrylic and aluminium on wall
Susanne Kathlen Mader, Mixed Media, Metal
RUNNER
'faster, more efficiënt, no time to contemplate....'
Fleur van den Berg, Glass
Io, von Argos' hundert Augen überwacht
Eine dreiteilige Plastik mit einem Thema aus der alten griechischen Mythologie, welches auch für die heutige Zeit sehr zutreffend ist. Nachdem Io, vom ehebrechenden Zeus verführt oder vergewaltigt wurde, verwndelt der Göttervater diese, aus Angs vor seiner Gemahlin,in eine Kuh. Die gekränkte, eifersüchtige Ehefrau will nun jene schöne, weiße Kuh zum geschenk. Zeus erfüllt ihr den Wunsch, aber Hera hat nichts anderes zu tun, als sie an einen geheimen Ort zu verbannen und von ihrem hundertäugigen Wächter, dem Ungeheuer Argos überwachen zu lassen. Zeus bekommt ein schlechtes Gewissen und will Io helfen. Er begibt sich zum Götterboten Hermes,n verzaubert sich selbst in einen Specht und weißt ihm den Weg zur Nymphe Io. Hermes soll auf seiner Flöte spielen und zwar solange bis der gefährliche Wächter eingeschlafen ist. Im Anschluß soll Hermes das Ungeheuer töten. Was dieser auch befolgt und erledigt.
Manuela Clarin, Mixed Media, Plaster
Turbulence
La Folie des Folies (1) . Domaine de la Garenne-Lemot / Le Voyage à Nantes, Gétigné (France) Site: Colonne de Madrid (existing sculpture / part of the original park design resin, div. paints and pigments, metal 6 coloumns, 3.7 x 0.4 x 0.4 m
Cornelia Konrads, Installation
'drink my blood'
‘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, Glass, Mixed Media
Warten.......Mutter mit zwei Kindern
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, Marble
Etxea - House
A sculpture of 4,5m high made with steel, painted and oxidized. Symbolizes a miner's house.
Alex López Vega, Steel
Changes 2010
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, Steel, Concrete
...search more...
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