Zeewierwoud

Laboratory glassware, head massage, crown glass. Installation, growing size. Flower meadow, delicate, light, fragile, domino effect, dry, happiness.⁠ Irretrievable, Entschuldigung.⁠
Cate Wind, Mixed Media, Glass

Kunstprojekt 2017 Säulen der Freiheit „Die Freiheit ist wie das Meer. Die einzelnen Wogen vermögen nicht viel , Aber die Kraft der Brandung ist unwiderstehlich. Václav Havel
Friedrich Vossel, Stone

Compass, many, metal, rust Installation, growing size Rotate around one's own axis.⁠ Infinity with place for hope⁠ Defense, aggression, defense, ego, weapon.⁠ Hope.⁠
Cate Wind, Metal, Installation

Installation. Kirigami, Tyvek. In Ireland at the Atlantic shoreline, when the ocean-floor temporary becomes land, eccentric shapes of seaweeds appear on the rocks. Fascinating, huge and mysterious. With a tough leather like structure, now and then half transparent like the skin of strange sea creatures. How would it be like to wander through these seaweed woods? This work ‘Seaweed-wood’ started in spring 2020, during the first outbreak of Corona crisis when society came to a hold. The silence and the absence of daily disturbance gave the opportunity to optimum concentration. These peculiar circumstances were of great influence on the final looks of this work.
Alice W Bakker, Installation, Plastics

Vases, many, silver Installation, growing size Reincarnation. Body as vessel, change of perspective. Endless depth, darkness. Past is concealed. All is one.
Cate Wind, Metal, Mixed Media

Der Kuss: Inspired by Gustav Klimt’s famous Kuss, this sculpture explores the relation and integration of human love and nature. As the two figures entwine, so the plants interweave, uniting the sculpture and becoming a part of it. Like the plants, the couple’s love starts from a small seed, grows and blooms, yet is also subject to influence and change from the world. Aesthetically this work is connected to New York Project, but a step further in transparency
janine von thungen, Bronze

“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

Lunch boxes, many, metallic installation, puzzle. Imprinting. boundaries. liberation. hunger.
Cate Wind, Metal

Bewegung im Wind, fließend, harmonisch - das Element Luft sichtbar gemacht, Walnussholz, geölt und vergoldet mit reinem Blatgold
Markus Brinker, Wood

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

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

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

Thüster Kalkstein, Schwarzweiß-Belichtung
Thomas Lucker, Stone

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

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

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

Die Springerin Bronze (schwarz patiniert)
Dagmar Vogt, Bronze, Bronze

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

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

"Stern zu Bethlehem" / Stadt Linz
Konrad Feichtinger, Metal, Mixed Media

Holzrelief, Esskastanie, patiniert, H 90 x 105 cm
Alexander Heil, Wood

10 Schalen aus Eis im Wald bei Jukkasjärvi, Schweden
Ilka Raupach, Natural materials

Freistehendes Relief, Eiche, patiniert, H 45 x 48 cm
Alexander Heil, Wood

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

Polyester, Glasfaser, Autolack, Holz Acrylfarbe, Lack
FOS, Plastics, Wood

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

Polyurethan – gefärbt, GFK, Autolack
FOS, Plastics, Synthetic resin

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone

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

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone

Aluminiumdraht, Epoxidknete, Farbe, Drehmotor
FOS, Synthetic resin, Plastics

Die Skulptur / Gipsvormodell / Kubismus
Andreas Rimpel, Concrete, Plaster

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone

Aluminiumdraht, Epoxidknete, Stahlplatte, Farbe
FOS, Synthetic resin, Plastics

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone

Bronze on granite base Edition of 6
Alexandra Slava, Bronze, Metal

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone

Cannstatter Travertin, leicht schwebend
Monika Majer, Stone, Stone

Installation at Oslo Kunstforening Acrylic colour, aluminium and 3D print on wall
Susanne Kathlen Mader, Installation, Metal

Figurengruppe mit Paddel im Boot | Bronze
Claudia Katrin Leyh, Bronze, Metal

Stein (Serpentin-Raindrop), Eisenhalter
Silvia Withöft-Foremny, Stone

Tiefspühlbecken ... Keramik schwarz poliert Formstudie, welche zum streicheln und umarmen anregt ... ich fühle mich extrem geehrt, wenn meine Rezipienten tatsächlich mit meiner Toilette kuscheln möchten ...
Bergit Hillner, Ceramics

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone

H 70 x W 64 x D 6 cm Hardboard, plastic, varnish, acrylic paint Like three spokes of a wheel or rays of a star, the three basic colors blue, yellow and red strive for a common dance on the round background disc. Outside the disc, each one by itself, they mix to a seemingly rotating color wheel. _____________________________ H 70 x B 64 x T 6 cm HDF, Kunststoff, Lack, Acrylfarbe Wie drei Speichen eines Rades oder Strahlen eines Sternes streben die drei Grundfarben Blau, Gelb und Rot auf die runde Hintergrundscheibe zu einem gemeinsamen Tanz. Außerhalb der Scheibe noch jede für sich, mischen sie sich zu einem sich scheinbar rotierenden Farbkreis.
Alexander Lorenz, Wood, Plastics

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone

Relief | Gips auf MDF schwarz | little people
Bergit Hillner, Wood, Plaster

Wasser Larvikrit Bildhauersymposium 2014 Asgard Norwegen
Friedrich Vossel, Stone, Stone

Ein Blick in die Werkstatt. Im Vordergrund "Bewegung" in zwei Größen
Cornelia Hammans, Bronze, Metal

Auftrag für eine Außenanlage. Hier vor der Montage noch in meiner Werkstatt.
Cornelia Hammans, Bronze, Natural materials

The project “Deaming the forest” talks about the ephemeral experience of standing in front of a tree; the incorporeal experience of remember the nature. The work reflects on the relationship between human beings and nature. It is a work about memory. I seek to reconnect with nature through memory. Remembering the experience of facing the wind, the leaves, the grass… The work is not explicit, everyone will read in it their own memory. Bringing the nature as a memory into the city is the only way to make it present.
Tamara Jacquin, Wood, Textile