André Prinsloo

The Ballet Dancer

The Ballet Dancer - a Male Figure 1/3 life-size in bronze. Limited edition of 7 available (1/7 already sold)
Mounted on black Granite Base

FACTSHEET:

Dimensions : 75 cm x 35 cm x 26 cm (Height, Width, Depth)
Weight : 12 kg
Year : 2019
Material : Bronze, Granite

André Prinsloo

The creation of my sculptures is a very private act that originates from deep within my sub-conscience. Often the idea just happens without much conscious thought. Verbal communication – especially with strangers, does not come naturally to me. Thus sculpture – like music, has become my universal language. In the act of creation I therefore talk to myself and it has become a way of exploring my inner emotions.

For me there are many ways in which I can start a sculpture. Usually movement is the spark that inspires, but lately just a simple stillness (as in yoga) in a pose can also be the trigger. As we are all human we can all identify with the emotions and feelings irrespective of our backgrounds. Therefore the human form has become my universal language in which I prefer to express myself. The extreme poses portray extreme emotions. The figures are often androgynous. Often, when I start sculpting, the rhythm, feeling and line are the important factors. Only towards the end do I have to decide on a gender and by then usually the sculpture itself has determined its own sex.

As the nature of sculpture is three-dimensional it therefore intrudes into our living space and becomes a lot more intimate by nature. It is tangible and the sensation of touch is one of our most important senses. Everybody enjoys touching or being touched by those dear to us. I find the duality of bronze as a medium fascinating. During the actual casting there-of it is hot and liquid as water. Once cast it becomes cold and hard. The sculptor’s art is to understand this medium and to create shapes and textures that will still entice the viewer to reach out and touch the warmth and softness that is captured within the work. When and if you the viewer touches my work, I have been successful to communicate with you despite our various backgrounds.

Contrary to a painting, photograph or drawing that has its own built-in source of light captured by the artist, a sculpture’s light source continually varies according to its physical circumstances. Sometimes the surface is smooth and other times impressionistic – each reflecting light in a different way (hard or soft). Another important factor is that a sculpture’s rhythm and line must be able to stand on its own without needing a patina to make it “pretty” and acceptable. I would ideally like to naturally age my work over a period of months or even years to develop its own character/patina. But today’s society is one of instant gratification and thus the use of chemical patinas.

As with people, no two works are alike even though they might be editions of the same work. The nature of lost wax casting ensures that all works are unique.

Enough said about my view on my works – let them now speak for themselves….


also interesting:

Produkt #011, TRASA
Polyurethan – gefärbt, GFK, Autolack
FOS, Plastics, Synthetic resin
"Geometrie und Zahlen" 21 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
cup_06
kleines Trinkgefäss ... Abformung eines Espresso-Bechers in Porzellan mit verschiedenfarbigen Glasuren.
Bergit Hillner, Ceramics, Glass
"Geometrie und Zahlen" 22 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
Havanna Smoke
Aluminiumdraht, Epoxidknete, Farbe, Drehmotor
FOS, Synthetic resin, Plastics
Am Abgrund
Die Skulptur / Gipsvormodell / Kubismus
Andreas Rimpel, Concrete, Plaster
"Geometrie und Zahlen" 23 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
fallen cloud
Aluminiumdraht, Epoxidknete, Stahlplatte, Farbe
FOS, Synthetic resin, Plastics
"Geometrie und Zahlen" 24 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
The Coronation
Bronze on granite base Edition of 6
Alexandra Slava, Bronze, Metal
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
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
"Geometrie und Zahlen" 25 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
Shahrázáds fortellinger V
Installation at Oslo Kunstforening Acrylic colour, aluminium and 3D print on wall
Susanne Kathlen Mader, Installation, Metal
Alter Ego
Figurengruppe mit Paddel im Boot | Bronze
Claudia Katrin Leyh, Bronze, Metal
Baumfrau (Nr. 124)
Stein (Serpentin-Raindrop), Eisenhalter
Silvia Withöft-Foremny, Stone
00 _ 03
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
"Geometrie und Zahlen" 27 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
FF 14
H 70 x B 64 x T 6 cm HDF, Kunststoff, Lack, Acrylfarbe Edition, 20 Stk 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. Das Objekt kann mit einem Nagel aufgehängt werden. Alle notwendigen Utensilien sowie Montageanleitungen sind im Paket beigelegt. _____________________________ H 70 x W 64 x D 6 cm Hardboard, plastic, varnish, acrylic paint Edition of 20 pieces 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. The object can be hung a wall with a single nail. All necessary utensils and assembly instructions are included in the package.
Alexander Lorenz, Wood, Plastics
"GEOMETRIE UND ZAHLEN" 28 VON 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
Mann im Schaum
Relief | Gips auf MDF schwarz | little people
Bergit Hillner, Wood, Plaster
SPIRAL
The spiral is a form that appears in nature in different ways..we can find it in clouds, in movement of the wind, in the water and also in the plants or observing the flight of the birds
Isabela Lleo, Stone
ALMOND FLOWER
Belonging to the series of SEAFOAM, this work is emblematic because it represents the form of the flower of almmondtrees, flourishing as soon as january or february. They are the first flowers every year.... This work has been exhibited in Venice bienale, Giardinni Marinaressa with the European Cultural Center in Personal Structures Exhibition in 2917, as well as in Sculpture by the Sea Cottesloe 2020 and Bondi 2021
Isabela Lleo, Bronze
WASSER
Wasser Larvikrit Bildhauersymposium 2014 Asgard Norwegen
Friedrich Vossel, Stone, Stone
Große und Kleinere Bewegung
Ein Blick in die Werkstatt. Im Vordergrund "Bewegung" in zwei Größen
Cornelia Hammans, Bronze, Metal
Chaotische Harmonie
Auftrag für eine Außenanlage. Hier vor der Montage noch in meiner Werkstatt.
Cornelia Hammans, Bronze, Natural materials
Impuls
Walnussholz "Impuls" - Welle - Bewegung - Leichtigkeit - Lebendigkeit - elegant - fließend - harmonisch Eine Skulptur, die man berühren möchte
Markus Brinker, Wood
Dreaming the woods I
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
Die Wand 2
plastische Wandgestaltung aus Keramik
Guido Kratz, Ceramics
Exibiz
Der Exhibitionist der sich doch nicht ohne goldene shorts aufs Podest wagt.
Martin Schlamp, Wood
Portraitstudie
Unser Portrait ist Basis unserer Individualität, Ausdruck aller Möglichkeiten etwas zu seinen eigenen Bedingungen zu tun. Auf alles andere zu pfeifen und nur die Dinge zu machen mit denen man sich selbst treu bleibt.
Jonas Eideloth, Stone, Wood
series of collages
collages
noam ben-jacov, Mixed Media
see the world
Skulptur aus Cr-Ni Stahl gebürstet Kugel hochglanzpoliert in der sich die Ümgebung spiegelt Kopf aus Glas Körper aus GfK
Konrad Feichtinger, Metal, Mixed Media
The Ballet Dancer
The Ballet Dancer - a Male Figure 1/3 life-size in bronze. Limited edition of 7 available (1/7 already sold) Mounted on black Granite Base
André Prinsloo, Bronze, Granite
Moluccan Canoe
For the Utrecht city project 'Street wise', I was asked to create a work of art based on the street name Molukkenstraat. It is a facade stone that hangs on the wall of my home / studio, close to the street sign. This sculpture is part of the GPS tour through the Lombok district in Utrecht. Made by Peter Dubois in collaboration with Kosmopolis Utrecht. Watch the video below and hear the story behind the image. Video GPStour Lombok from Peter dubois on Vimeo
Fieke de Roij, Stone, Stone
Siedlung
Gewachsene Strukturen und die Beziehungen der Menschen prägen den Mikrokosmos einer Siedlung auf engstem Raum. Dieser wandelt ständig sein Erscheinungsbild nach allen Seiten durch Zuzug, Wegzug, Neubau, Verfall, Zerstörung und Lückenfüllung. Zudem wirken globale Entscheidungen und Einflüsse von außen. Das Wechselspiel von inneren und äußeren Vorgängen gibt jeder Siedlung ihre einzigartige Historie und Gestalt.
Ilka Raupach, Wood, Wood
Der Grübler
Gipsvormodell für eine 2m hohe Skulptur / Kubismus
Andreas Rimpel, Plaster, Clay
in einem fremden Wasser
in einem fremden Wasser lockende Gewächse recken ihre Fühler aus dem Nass erblühen glänzend weiß wiegen sich im Strom schlingen, winden, greifen schließen in die Arme ziehen hinab in den getrübten Grund aquamediale, Lübben/Spreewald
Ilka Raupach, Plastics, Mixed Media
aufbewahrt
Baltischer Bernstein – Tränen der Sonne, 4 Vogelobjekte je ca. 9 x 5 x 2 cm
Ilka Raupach, Natural materials
Textur
Anröchter Dolomit (Kalksandstein) Als Eckenbrecher Gesägt und geschliffen
Friedrich Vossel, Stone, Natural materials
Amsterdam primordial soup
Commissioned by Bouwinvest, designed by Paul Whalen. In the center of Amsterdam. This "oldfashioned" passage depicts the history of water and our relationship to it. The floor is made from terazzo, the handglazed tiles in 15 shades going from green to brown are decorated with gold, the 3 triptychs gigantic mirrors are sandblasted and painted from the back, in the middle there is a bronze fishhead shaped fountain, there are specail chandeliers made of bicycle parts and to top it off the ceiling is made of glass mosaic.
Iris Roskam, Bronze, Glass
In my hands
Arme, Originalgröße, auf Sockel montiert, Silikon und PU-Schaum
Lisa Büscher, Plastics, Others
Ode to the women of Den Helder
Dedicated to the women who live the harsh coastal life where the sea gives and takes. Commissioned by Helder Vastgoed, 3 50ties social housing flats got a make-over and were decorated with metal window frames, various ceramic surfaces, a gigantic one at the end facade and adorned with phosphorescent blown glass bubbles.
Iris Roskam, Metal, Glass
Mupfel
Organic media sculpture - Skulptur mit einer Haut oder Panzer aus Schwertmuscheln und einem Fernsehmonitor mit Wasserstrukturen / sculpture with sword shell skin and video monitor displaying ocean textures
Tina Zimmermann, Natural materials, Mixed Media
An outcast sanctuary
Skatepark on Zeeburgereiland in Amsterdam, commissioned by the city of Amsterdam. 12 tile panels were printed with glaze after drawings were colored in with ballpoint to resemble delft blue. 135m1 of 2,5x2,5 tiles 8 high were put around the pools. Because the surfaces were scatered the park is considered as a giant organism with holes were you can see inside. Skaters were in the early eighties not very popular so in the drawings you'll find other outcast such as pigeons, woodlice and trash.
Iris Roskam, Ceramics
Head 5
cast, handbuilt, terracotta, combustible materials, engobes, photo © Marco Wittkowski
Babette Martini, Ceramics, Clay
The Gold Rabbit ( Bronze Limited Edition 1/6)
The Gold Rabbit ... He popped out, just like that, one day, from my hat: sitting still and attentive... One ear more or less tilted depending on the secret that one confides in him and the material in which he is made to appear : A body made of plexiglass, carbon, steel, or aluminium... Why not a Golden Rabbit or a Silver Rabbit ? ...A few sleights of hand... Open your eyes now ! “The Rabbit” can be on a human scale or monumental, its dimensions will measure up with our dreams, whoever we are … ... “God is always doing geometry” wrote Plato. Joy now has a figure, a form, and volumes... Happiness is no longer an abstraction: it has a depth to it and four feet, that one just needs to caress to get a feel of bliss... ...A Rabbit like an ancient offering... A kind of Trojan Rabbit to let you into Wonderland... Soft and sweet... No one must be late when it comes to getting a kick out of life, repeats the Rabbit, at the entrance to the warren... The complicit wink of women, the lustful smile of men... ...The Rabbit at the “Origin of the World”, hidden behind the “Cony” of the Middle Ages... The “Cony” that naughty lads pushed into a metaphor and slid betwixt the thighs of lewd lasses... The “Cony” that lost, over time and at the razor’s edge, its ending in French, along with its last bits of hair... The “Cunt” revealed... ...The Rabbit of the « Garden of Delights »... Bosch’s Paradise within reach... A Rabbit sent down from Heaven … Happiness erected, one day, into a Cathedral... Stained-glass windows, to illuminate it… ...A prayer and a final sleight of hand... A herd of Rabbits coming out of the hat... Happiness multiplied... Rabbits of all sizes, each of them unique, sitting still, and attentive...
Denis Defrancesco, Bronze, Plaster
heading for a new future
acryl painting on paper and textile, epoxy, 3D / 2020
Aurelia van der Burght, Paper, Textile
“The shadow of Orpheus and Eurydice”
This is a unique work. © Protected by copyright. This sculpture is part of a series of sculptures that take sequences from the narrative context of legends of ancient Greek civilization and sculpt the result of my imagination in a new way of seeing in the modern era, different, sometimes suggesting movement in the process of metamorphosis. The ancient Greeks understood that all human dramas revolve around the ubiquitous and inevitable experience of loss. Greek mythology revolves around this essential paradox of human life. Our time is limited, our control is limited and from this is born the great emotion of human existence. We love intensely, because we know that our mastery is weak. The love story of Orpheus and Eurydice exemplifies this principle in all its heartbreaking beauty. According to legend, Eurydice, the wife of Orpheus, dies at their wedding being bitten by a snake. Orpheus prays to the gods to allow him to save her, descending into hell to bring Eurydice back to life. The gods allow him to try, but on one condition - he does not have to look back at his wife who is following him. Orpheus respected this condition until the threshold of hell; but when he was ready to cross the fatal frontier, driven by the fear and impatience of love, he looked back. At that moment, the gods are faithful to their cruel promise, and Eurydice is pulled back into darkness and thus loses his wife a second time. The despair caused by the final loss of Eurydice made Orpheus despise and insult the women of Thrace. Eventually, exasperated, they retaliated by tearing him to pieces, prey to the ecstasy specific to bahic orgies. After his death, the shadow of Orpheus descends underground, into hell, he finds Eurydice, “Then lovingly they wandered side by side/ or he would follow when she chose to lead/ or at another time he walked in front/ looking back, safely,—at Eurydice.”, (Ovid, in "Metamorphoses", the eleventh book). This last passage is the theme of my sculpture: when Orpheus turns his head and looks at Eurydice without fear because the gods could no longer punish him. I sculpted the two characters in unusual shapes because they are both in a dreamlike, unreal environment, in eternity, he is a shadow and she is an illusion. I sculpted the lower half of Orpheus in bas-relief, going through the strange place of hell and the upper part of the body in three dimensions. I sculpted Eurydice with her body shape in the negative. Video: https://youtu.be/9oX3aWzc-2A
Vasile Stefanoiu, Marble, Video
Head 6
cast, handbuilt, terracotta, combustible materials,engobes photo Marco Wittkowski
Babette Martini, Ceramics, Clay
...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