
Alexander Heil
DREAM IT !
FACTSHEET:
Dimensions : 10 cm x 90 cm x 105 cm (Height, Width, Depth)Weight : 30 kg
Year : 2019
Material : Wood
Technique : chain saw
Style : abstract
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Ignorance #1
“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, Clay, Others
Mehnoush Modonpour, Clay, Others

Ich frei mich nicht fühl
Lunch boxes, many, metallic installation, puzzle.
Imprinting.
boundaries. liberation.
hunger.
Cate Wind, Metal
Cate Wind, Metal
FiligreeShit
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, Natural materials, Stone
Jens Linnek, Natural materials, Stone

Ignorance #2
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, Clay
Mehnoush Modonpour, Clay

Approach
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, Wood, Natural materials
Grace Adam, Wood, Natural materials

FF 1
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, Wood, Plastics
Alexander Lorenz, Wood, Plastics

HollowHopper
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, Stone, Natural materials
Jens Linnek, Stone, Natural materials
the insane
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, Metal
Nila Mihai-Petre, Bronze, Metal

Inside of me 2
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, Metal
Aziz Anzabi, Bronze, Metal
Embryo
Aus dem Drang und der Notwendigkeit etwas geschmeidiges und glattes zu erschaffen entstand diese Form - letztendlich jene einer ungeborenen Kreatur.
Jens Linnek, Bronze
Jens Linnek, Bronze

Even the trees are crying
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, Glass, Ceramics
Aurelia van der Burght, Glass, Ceramics
the insane
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, Metal
Nila Mihai-Petre, Bronze, Metal

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

Lifting brick
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, Synthetic resin, Metal
Viviane Brickmanne, Synthetic resin, Metal

A sad history, or is it futurism?
Installation by Aurelia van der Burght
soundsculpture i.s.m. Krijn Hendriksen en Hans d'Achard
Gruyterfabrieken, 's Hertogenbosch
Aurelia van der Burght, Ceramics, Paper
Aurelia van der Burght, Ceramics, Paper

Phoenix
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, Stone, Concrete
Jens Linnek, Stone, Concrete

spheres_01_01
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, Wood, Natural materials
Bergit Hillner, Wood, Natural materials

Rupture
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, Synthetic resin
Viviane Brickmanne, Synthetic resin

The man's hand
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, Metal
Viviane Brickmanne, Metal

Prekärer Dialog - Janus hält Zwiesprache
Prekärer Dialog - Janus hält Zwiesprache
Wolfgang Sandt, Stone
Wolfgang Sandt, Stone

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.
Margarete Adler, Plastics
Margarete Adler, Plastics

Pendant bricks
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, Synthetic resin
Viviane Brickmanne, Synthetic resin
An altar for an ordinary animal
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, Wood, Ceramics
Aurelia van der Burght, Wood, Ceramics

Grace II
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, Synthetic resin
Viviane Brickmanne, Synthetic resin

Embleton Corvete
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, Stone, Granite
Russell Coleman, Stone, Granite

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

"Geometrie und Zahlen" 21 von 37
Stil: konkrete Kunst
Material: Sandstein
Bearbeitung: abgetragen und abgebrochen
100% Handarbeit
Go37Pe, Stone
Go37Pe, Stone

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

cup_06
kleines Trinkgefäss ... Abformung eines Espresso-Bechers in Porzellan mit verschiedenfarbigen Glasuren.
Bergit Hillner, Ceramics, Glass
Bergit Hillner, Ceramics, Glass

"Geometrie und Zahlen" 22 von 37
Stil: konkrete Kunst
Material: Sandstein
Bearbeitung: abgetragen und abgebrochen
100% Handarbeit
Go37Pe, Stone
Go37Pe, Stone

Invasive nature
I like to put together various elements such as bricks and vegetables.
2/3
Viviane Brickmanne, Bronze
Viviane Brickmanne, Bronze

"Geometrie und Zahlen" 23 von 37
Stil: konkrete Kunst
Material: Sandstein
Bearbeitung: abgetragen und abgebrochen
100% Handarbeit
Go37Pe, Stone
Go37Pe, Stone

Mutant IV
Young girl whose wings are made of bricks.The other Mutants can be seen on my website.
2/7
Viviane Brickmanne, Bronze
Viviane Brickmanne, Bronze

"Geometrie und Zahlen" 24 von 37
Stil: konkrete Kunst
Material: Sandstein
Bearbeitung: abgetragen und abgebrochen
100% Handarbeit
Go37Pe, Stone
Go37Pe, Stone

Tragische Säule
Kunstsammlung Nyffenegger, Arbon (Switzerland)
Site: former industrial hall, next to other, similar looking pillars
Material: foamrubber, plaster, wood, steelrope, paint
Cornelia Konrads, Installation
Cornelia Konrads, Installation

Modules
the cuboid-like shape is a modified Platonic volume. It becomes a module in an architectural structure or a setting that can be hidden or visible. Inspired by the traces of old buildings one might find in an ancient place, the installation calls to mind how these crumbling individual components now only serve as silent witnesses. However, at one time may have been the key element of a wall, or ceiling, etc. Regardless of their prior functionality, the aesthetic potential overrides the previous story
Toma Gabor, Metal, Plastics
Toma Gabor, Metal, Plastics
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