Hans Some

sphid modular shell

sphid series,
stainless steel, steel,

FACTSHEET:

Dimensions : 170 cm x 55 cm x 40 cm (Height, Width, Depth)
Weight : 25 kg
Year : 2014
Material : Metal, Steel
Style : abstract, contemporary, architectural

Hans Some

At first impression metal shows itself to be the material of consistency and solidity, but it is also the material resistant to any changes. To create a sculpture from an unhewn block you have to employ a lot of energy and strength. This creative process is the continuous confrontation of the artist with the material.The essence of my work is this dialogue with the material reaching and exceeding its own limits.The experimented resistance – the resistance of the object – is an essential character of the significant experience of personal truth. With this exploration of the resistant opposite you can start a dialogue and experience yourself.

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Kintsugi Coral
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Bubble Forest
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Ignosi
Long ago there was a demigodess called Ignosi, whose knowledge was pure and immeasurable. She knew everything of all creation, gods, heroes, and man. She was associated with science, speech, literature, the arts and inspiration. She was also the gatekeeper for the process of gaining knowledge. However, she was not allowed to to communicate this awareness to humanity. ...So powerful and beautiful were her skills, that not only did she become the most enlightened creature on earth, but she also felt compelled to share her learning with humans, even though that had been strictly forbidden by the Gods. Ignosi defied the gods and became pregnant in order to sow the seeds of 'cognition' on earth. This caught the attention of the gods who believed that humans with this insight and strength could soon become a threat to them. For this outrageous act of disobedience against the will of the Gods, Ignosi was condemned to death by decapitation. In her last defiant act before passing however, she cleverly managed to communicate fragments of her wisdom to her twin daughters in her womb. Through them, fragments of knowledge and awareness seeped through humanity.
Manuela Granziol, Mixed Media, Paper
Memories I
interactive sculptural-multimedia installation by Marina Bauer
Marina Bauer, Mixed Media, Installation
Cube in Five pieces
Aluminium anodized
Stephan Siebers, Metal, Steel
Modelle
Fertige Modelle
Friedrich Vossel, Wood, Stone
Schach
CUBE aus MDF, bemalt und vergoldet. Veredelt mit 2K Kunstharzlack. Steht auf Ecke oder kann in einen Rahmen für die Wand montiert werden.
Raschi Küng, Wood, Mixed Media
sphid modular shell
sphid series, stainless steel, steel,
Hans Some, Metal, Steel
YIN-YANG
Zyklus: 4-dimensionale Kunst Yin und Yang in Bewegung. Durch die eigene Bewegung entsteht ein Moiré-Effekt der die Skulptur zum Leben erweckt.
Berndt Schweizer, Metal, Steel
fiesta brava
Diese Arbeit ist bei einem sechswöchigem Symposium in Tlaxcala, Mexico entstanden.
Daniel Priese, Stone
Unrevealedness: The belonging of Earth and World.
Installation of bees wax, wool and wood. ceramic container. photo: Jan Wilms
Alexandra Bremers, Wood, Natural materials
Seeds
Seeds are shown in two different ways. On the scale they are shown as a value in weight. On the branch they're shown (as they are) as a gift from nature. Over time there representation can change. Balance in a physical way and in nature's way.
Harry Schumacher, Wood, Natural materials
Bird
Why don’t we find shelter in nature? The egg is a little fresco.
Harry Schumacher, Wood, Ceramics
phague
stainless steel, sphid|phague|glia series
Hans Some, Metal, Steel
3 aus 45
Dieses Land Art Projekt wurde im Rahmen vom 3. Kulinarik & Kunst Festival 2016 in St. Anton am Arlberg von den beiden Künstlern Sandra Brugger und Manfred Hellweger realisiert. Das Land-Art-Projekt trägt den Titel „3 aus 45“, da es aus 3 Weidenkugeln besteht und 45 m lang ist. Ebenso wird dieser Titel an das Lotteriegewinnspiel „6 aus 45“ angelehnt, da sehr viel Glück nötig ist, um diese Arbeit wetterbedingt auch vollenden zu können. Bei einem starken Gewitter und dem daraus folgenden Hochwasser würde die Arbeit binnen kürzester Zeit zerstört werden.
Manfred Hellweger, Wood, Stone
Werkserie Touch
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
árbol
intervención en un parque con árboles centerarios. Por la gran extensión de los pinos es difícil de percibir la escala.
Hans Some, Metal, Steel
Arms 1 – Cherry Bug
Material: branches of cherry trees Location: Allgäu, Germany
Judith Mann, Wood, Natural materials
Fog 1 – Salix.Fog
Material: willow, wire, fog Location: Hilden, Germany Year: 2012
Judith Mann, Wood, Mixed Media
CAVALESE
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
Scattered Thoughts
Remont Gallery, 26/02-02/03/2018 Exhibition: The Time Collectors
Nevena Popović, Textile
Emptiness
1. Just one among many 2. The far future 3. Evan beautiful flowers remain so for a while 4. Memento mori
Nevena Popović, Ceramics
Arms 3
Material: willow branches, fog Maße: Ø 3,94m Jahr: 2015
Judith Mann, Wood, Installation
The world is colourful and resplendent and there is room for everyone.
The world is colourful with a great diversity of cultures in which every human being is unique. For this suspended object, which seems to escape gravity, I venture on how to translate an idea of harmony on the one hand and goodwill on the other. If every human being could achieve serenity and harmony around oneself, there would be peace and place for all in our world. In this miniature cosmos, the two elements, metal and acrylic intertwine, they are assembled by aluminium and acrylic rods, and are populated by human beings, symbolically represented by the coloured figurines. I invite us to think of the fragile situation of our world, of the colourful and resplendent world where there would be space for all.
Solange Keschmann, Metal, Plastics
Gras drüber wachsen lassen
Im Rahmen der Landart-Ausstellung ‚Horizonte‘ in Oberägeri entstand 2016 diese sich verändernde und vergängliche Skulptur.
Daniel Züsli, Wood, Mixed Media
Holocene
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
Essenz der Erde
Keramik, bemalt, patiniert, lackiert Bauer beim Tagwerk - dem Prüfen der Erde bevor eingesät wird.
Lisi Deutsch, Ceramics
For You
Interactive light installation, exploring human connection and interaction with light.
Ann-Margreth Bohl, Mixed Media, Wood
emotional throwback
installation, collaboration rhizomate! & NoSoloLuz
Hans Some, Metal, Plastics
Lichtspielhaus
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
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