










Manuela Granziol
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.
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.
FACTSHEET:
Dimensions : 240 cm x 200 cm x 180 cm (Height, Width, Depth)Weight : 80 kg
Year : 2021
Material : Mixed Media, Paper
Style : monumental
also interesting:

phague node xtd.
stainless steel,
sphid|phague|glia series
This work sensualises the two contrarious dualities in one – phague: devourer. Congestion, densification, introspection– but showing just a tendency to expand, too. Volume and its disolution, compactation vs. release and devolatilisation, motion through tension, space through omission, fracture vs. high polished beauty. With infinite options of sights & positions. So what is its condition? Where is the turning point, when inside turns outwards? Like inverting a sleeve...what will be left in the final stage? And my interest doesn't stop with completing the object, the completed work comes to existence again with its interelation with the environment
Hans Some, Metal, Steel
Hans Some, Metal, Steel

Consilium
Monument vor dem Liechtensteinischen Parlament. Zur Erinnerung an das 100-jährige Bestehen der Verfassung des Fürstentums Liechtenstein vom 05. Oktober 1921 am 05. Oktober 2021. Peter-Kaiser-Platz, Vaduz, Liechtenstein.
Heinz P. Nitzsche, Concrete
Heinz P. Nitzsche, Concrete

Reihe UMBRUCH | Series radical change
Stahl, Draht, Kupfer, Gips, Leinen, Stacheldraht
Wir erleben eine Pandemie. Ausnahmezustand.
Wir leben zwischen den Zeiten – die eine ist zu Ende, die neue noch nicht da.
Die Gesellschaft befindet sich im Umbruch.
Aus dieser Situation heraus ist meine Reihe UMBRUCH entstanden. Die Arbeiten spiegeln Verwirrung, Brüche, Verlust, Schmerz und Wechsel wider.
Richtungswechsel in eine Zukunft nach der Pandemie.
UMBRUCH 1 entstand zu Beginn der Pandemie 2020. Aus einer beklemmenden, beängstigenden Situation und Stimmung heraus. Die Menschen waren zum Umdenken gefordert. Verwirrung machte sich breit. Im Laufe des Sommers gab es eine Schein-Normalität. Die Pandemie schien uns nicht weiter zu betreffen.
UMBRUCH 2 entstand im Herbst 2020. Die zweite Welle der Pandemie trifft uns mit Wucht. Lockdown light. Eine Zeit der Belastung, der Zerrissenheit, der Irritation, der Ängste.
UMBRUCH 3 entstand während des dritten, sehr langen Lockdowns, Anfang 2021. Die Pandemie zwingt uns zum radikalen Umbruch, sperrt uns gleichzeitig radikal ein und hindert uns an allem, was wir bisher als Normalität kannten.
Helga Kaes, Metal, Plaster
Helga Kaes, Metal, Plaster

Froschkönig
Frog King’s height exceeds a normal adult by far. Standing opposite the sculpture the visitor is confronted with its tremendous absorbing mouth. The blue colour supports the feeling of absorption. Behind the mouth the spacious mystical cavity opens and holds an opportunity to nestle in separated from the world’s hustle and bustle, to calm down protected by thick black walls, tranquillity, to concentrated on the essential – and maybe hatching of this incubator as an altered human being. The moment of apparently uncontrolled violence in the fairy tale of the same title is replaced in this work by self-determined and deliberate potential for change.
beechwood (bit-technique), ultramarine blue translucent varnish; epoxy resin; carbon fibre laminate
Die Möglichkeit der Wandlung beim Froschkönig fasziniert; nicht die Form, der Inhalt ist essentiell. Der riesige absorbierende Schlund - ultramarinblau eingefärbt - führt direkt in den dahinterliegenden Hauptraum – leer, dunkel, mystisch. Abgeschottet von der Alltagshektik bietet sich hier die Möglichkeit zur Ruhe zu kommen, sich zu sammeln, sich auf das Wesentliche zu konzentrieren. Vielleicht kommt man verwandelt durch den engen Durchschlupf in die Welt zurück. Der vermeintlich unkontrollierte Akt von Gewaltanwendung im Märchen mit dem gleichen Namen, der zur (Ver-)Wandlung führt, wird hier durch bewusstes, selbstbestimmtes Handeln ersetzt.
Buche - Holzaufbau und Carbonlaminat / ultramarinblaue Lasur
Klemens Pasoldt, Wood, Synthetic resin
Klemens Pasoldt, Wood, Synthetic resin

Tänzer
Aus einem ca. 70 kg schweren Diabas-Stein wollte ich eine abstrakte Figur - ein Tänzer oder ein Tanzpaar, je nach dem, was man sieht - schaffen. Für mich ist es eine edle, sinnliche Skulptur, die mit dem besonderen Stein sehr anspricht und fesselt.
50 cm,
Stefan Kresser, Stone
Stefan Kresser, Stone
Far and away
No physical content; mere space – emptiness. Your thoughts will carry you into your own world, to your dreams and your necessity. The axis of vision created by the protuberances punctures and crosses the inner space. Maybe a ray of light falls into the dark through one of the openings and subtly illuminates the mystical silence.
beechwood (bit-technique), purple translucent varnish; epoxy resin; carbon fibre laminate
Kein materieller Inhalt, nur Raum - Hohlraum. Die Gedanken tragen den Betrachter in seine eigenen Welten, Träume und Notwendigkeiten. Die durch die Ausstülpungen erzeugte Sehachse kreuzt den Hohlraum in Innern. Vielleicht fällt durch eine der Öffnung gelegentlich ein Lichtstrahl in die geheimnisvolle Ruhe.
Buche - Holzaufbau und Carbonlaminat / rotviolett - mauvefarbene Lasur
Klemens Pasoldt, Wood, Synthetic resin
Klemens Pasoldt, Wood, Synthetic resin

Hanzaflow
Diese Installation wurde im Rahmen vom 4. Kulinarik & Kunst Festival 2018 in St. Anton am Arlberg realisiert und zeigt einen regenbogenfarbigen Flussverlauf aus lackierten Heumännchen, der in den Verwallstausee mündet.
Damit möchten wir an die Kostbarkeit des Wassers erinnern und aufzeigen, dass auch unsere Region bereits stark vom Klimawandel betroffen ist. Dies haben uns einmal mehr die extremen Temperaturen und die lange anhaltende Trockenheit im Sommer 2018 gezeigt.
Weiters möchten wir dieses alte Werkzeug für die Heuernte, die "Hanza", wieder für alle Leute sichtbar machen, da durch die Modernisierung dieses Medium heutzutage so gut wie gar nicht mehr genutzt wird.
Die "Hanza" selbst stehen auch für die Wertschätzung der Bauern und deren Arbeit.
Zusammenarbeit mit Sandra Brugger
Manfred Hellweger, Wood, Installation
Manfred Hellweger, Wood, Installation

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
Manuela Granziol, Mixed Media, Paper

Memories I
interactive sculptural-multimedia installation by Marina Bauer
Marina Bauer, Mixed Media, Installation
Marina Bauer, Mixed Media, Installation

SERIE RAUMSPIEL | ZWEIERBEZIEHUNG | STAHL | 2019
STAHL | SERIE RAUMSPIEL | ZWEIERBEZIEHUNG | 2019 | ca. 30 x 60 x 35 cm
Durch Biegen der Stahlstäbe entstehen Raumlinien, zwei Raumlinien ergeben ein Ganzes. Ein Spiel mit Raum und Dimension.
.
STEEL | SERIES RAUMSPIEL | ZWEIERBEZIEHUNG | 2019 | ca. 30 x 60 x 35 cm
Bending the steel bars creates spatial lines, two spatial lines make a whole. A game with space and dimension.
Heike Weber, Metal, Steel
Heike Weber, Metal, Steel

Garten Eden
Hommage an die
Wachauer Marille
Ein sinnlicher Genuß :
Die blühenden Marillenbäume
erfreuen das Auge im Frühjahr,
die saftige, süße Frucht betört
den Gaumen im Sommer
und der Schnaps wärmt
die Seele im Winter.
Das Adam und Eva dieser Versuchung
erlegen sind darf uns nicht wundern.
Laßt uns dieses
Gottesgeschenk genießen !
Wand-Gestaltung
am Haus
Kirchenplatz 10
in Spitz an der Donau
Es ist höchste Zeit der “Wachauer Marille“ eine Position in der Kunst, im Öffentlichen Raum und damit dem modernen Wachaubild zu verschaffen.
Erster Stock Balkon:
Die wohl schönsten Frühlingsboten:
Blüten aus Aluminium getrieben und polliert,
Äste aus CrNi-Stahl,bemalt,
LED- Beleuchtung im Stempel für die abendliche Illumination
Erdgeschoß:
Adam und Eva die Stammeltern der Menschheit rechts und links des Tores gemalt auf CrNi-Stahl, moderne reduzierte Figuralität,
leichte Biegungen erzeugen eine skulpturale Anmutung
tänzerische Darstellung als Ausdruck der Freude wobei Eva auf die Blüten deutet
die Handhaltung drückt die
Geste des “Gebens und Nehmens" aus
Adam strahlt Vitalität, Kraft und Freude am Leben aus
Konrad Feichtinger, Metal, Installation
Konrad Feichtinger, Metal, Installation

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
Raschi Küng, Wood, Mixed Media

Flipper
Aus Tombakblech zusammengesetzter Delfin, auf Azul Macaubas.
Dolphin made of sheet of bronze on Azul Macaubas.
Kian Lorenz, Bronze, Stone
Kian Lorenz, Bronze, Stone

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
Berndt Schweizer, Metal, Steel
fiesta brava
Diese Arbeit ist bei einem sechswöchigem Symposium in Tlaxcala, Mexico entstanden.
Daniel Priese, Stone
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
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
Harry Schumacher, Wood, Natural materials

Bird
Why don’t we find shelter in nature? The egg is a little fresco.
Harry Schumacher, Wood, Ceramics
Harry Schumacher, Wood, Ceramics

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
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
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
Hans Some, Metal, Steel

Arms 1 – Cherry Bug
Material: branches of cherry trees
Location: Allgäu, Germany
Judith Mann, Wood, Natural materials
Judith Mann, Wood, Natural materials

Fog 1 – Salix.Fog
Material: willow, wire, fog
Location: Hilden, Germany
Year: 2012
Judith Mann, Wood, Mixed Media
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
Janine von thungen, Glass, Concrete

Abstract Woman.
Bronzeguss einen abstrakten Torso.
Gegossen von der renommierten Kunstgiesserei Strassacker, Süßen in Baden-Württemberg.
Sabrina Ferwagner, Bronze
Sabrina Ferwagner, Bronze
Scattered Thoughts
Remont Gallery, 26/02-02/03/2018
Exhibition: The Time Collectors
Nevena Popović, Textile
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
Nevena Popović, Ceramics

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
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
Daniel Züsli, Wood, Mixed Media
Verbundenheit - tied to
Mann und Frau - Stahl und Bronze auf Lärchenholz.
Man and woman - steel and bronze on larch wood.
Kian Lorenz, Wood, Bronze
Kian Lorenz, Wood, Bronze

L'homme qui marche 4
The work of Alberto Giacometti has always been very present in my mind and believe behind my work, so at one point I deciced to make an homage to his work rethinking the themes that were more common through his work.
Cardboard, recycle cardboard packaging, acrylic paint
From "The Giacometti Series"
CRISTIAN DIEZ SANCHEZ, Paper, Clay
CRISTIAN DIEZ SANCHEZ, Paper, Clay

Exercise 5
From the Series Workout-Asana The feeling of exercising means the effort to make a stronger body and a clearer mind; to be healthy and prepared for new challanges, thinking always that one can achieve them. This came after all the months of reclusion due to the Covid Pandemia
CRISTIAN DIEZ SANCHEZ, Mixed Media, Plaster
CRISTIAN DIEZ SANCHEZ, Mixed Media, Plaster

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
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
Lisi Deutsch, Ceramics

For You
Interactive light installation, exploring human connection and interaction with light.
Ann-Margreth Bohl, Mixed Media, Wood
Ann-Margreth Bohl, Mixed Media, Wood
Bubble Trees
"Bubble Trees" was created as a new iteration of the Bubble sculptures series and reflects values similar to those presented by the Bubble Forest: the ability of plants to produce oxygen.
Bubble Trees in their basic form consists of three main elements (the trees), however they can be multiplicated, there can be many more Bubble Trees installed in the client’s location.
When the sun sets, the dynamic illumination system (RGB LED lamps in light boxes installed in ground + the controller) lets the sculpture undergo a complete metamorphosis and shows its true colors. It’s a great feature in dynamic public places, where lots of people walk.
Mirek Struzik, Metal, Steel
Mirek Struzik, Metal, Steel

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
Ann-Margreth Bohl, Installation, Light

iLlegal housing 2018 / We are here
iLlegal housing III. - 2018
in ccoporation with Ien van Wierst, Ses Roquettes, Islas Baleares, Spain
Herbert Hundrich, Natural materials, Synthetic resin
Herbert Hundrich, Natural materials, Synthetic resin

FF 6,7 - 180cm
H 180 x B 21 cm
12 cm distance
plywood, varnish, acrylic paint
The wafer-thin strips hanging loosely on the wall and moving in the current of the air are pendent and emblematic of the fleetingness and immateriality of light.
The wooden/plastic strips hang on a nail 5/12 cm in front of the wall.
Their number and their distance from each other depends on the spatial conditions.
The individual strips are to be hung individually and and/or freely combinable in color and number.
FF 6
The strip has the primary colors painted on the back. Where they overlap, secondary colors emerge in the projection onto the wall. Together, they produce a color spectrum that is contained in daylight.
_____________________________
H 180 x B 21 cm
12 cm Abstand zur Wand
Sperrholz, Lack, Acrylfarbe
Die hauchdünnen, locker an der Wand hängenden und sich im Luftstrom bewegenden Streifen sind Pendent und Sinnbild für die Flüchtigket und Immaterialität des Lichtes.
Die Holz-/Kunststoffstreifen hängen jeweils an einem Nagel 5/12 cm vor der Wand.
Ihre Anzahl und ihr Abstand voneinander hängt von den räumlichen Gegebenheiten ab.
Die Streifen sind einzeln hängbar und/oder frei kombinierbar in Farbe und Anzahl.
FF 6
Der Streifen hat auf der Rückseite die Primärfarben aufgemalt. Wo sie sich überlappen entstehen in der Projektion auf die Wand Sekundärfarben. Zusammen ergeben sie einen Farbspektrum, welches im Tageslicht enthalten ist.
http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&bilder=sculpture&navi=ff&unterkat=ff01-09&kat=b&bild=6#id6
http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=video&video=2
Alexander Lorenz, Wood, Synthetic resin
Alexander Lorenz, Wood, Synthetic resin

Unrevealedness: Connecting Isolated Layers
Installation in glass and rattan
photos by the artist and Jan Wilms
Alexandra Bremers, Natural materials, Glass
Alexandra Bremers, Natural materials, Glass

treePod_01_02
seating furniture
material: ply wood pine
finish: antique wax polished / leaf gilded
process: programmed structure, cnc-produced 14 pieces on a 3-axis-mill, assembled and polished by hand
Bergit Hillner, Wood, Natural materials
Bergit Hillner, Wood, Natural materials

Pulpo
Description in German, English and French - please scroll down
Dies ist eine der Skulpturen, die entstand indem der Geist die Hände führte, ohne dem Bewusstsein mitzuteilen, wohin die Reise ging. Am Ende enthüllte die Form den Namen der Skulptur: Pulpo.
This is one of the sculptures that was created when the mind guided the hands without telling the consciousness where the journey was going. In the end, the shape revealed the name of the sculpture: Pulpo.
Ceci est une des sculptures, créée lorsque l'esprit guidait les mains sans communiquer à la conscience où allait le voyage. Au final, c’est la forme qui donna le nom à la sculpture: Pulpo.
Jens Linnek, Stone, Natural materials
Jens Linnek, Stone, Natural materials
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