Teo. San Jose

Dynamic Balance 7

¿la escultura cae con nosotros?. ¿la escultura está quieta o se desplaza?. La vida es una pregunta o una respuesta es algo que a todos nos ha hecho pensar en algún momento. Este es el momento donde se para el tiempo, ahí está la emoción de esta escultura.


Dimensions : 47 cm x 40 cm x 32 cm (Height, Width, Depth)
Weight : 3 kg
Year : 2021
Material : Metal

Teo. San Jose

TEO SAN JOSÉ / STATEMENT My sculptural work is developed from the desire to create spaces for dialogue. For me, it is necessary to work from the dialogue as a form to achieve an expresión of serenity. The public and monumental work that I carry out has a strong intention to intervene in people ́s daily lives. In my case, the sculptures do not wait in the standard exhibition spaces, on the contrary, they are the ones that go out to meet their own place and its spectators. The sculpture of great dimension, allows to trascendí the human scale, picking up the notion of “symbol” and stimulating a physical relationship with the viewer. The viewer surrounds the work, crosses it, raises and lowes the head or moves away from it. If the referente point is variable, so is the work itself. This transformation without change is one of the fundamental balances that I seek in my projects. Tension as a balance between concepts is present in all aspects of the work. The use of steel as a material exposes a weight, a solidity. The facto f curving ans stylizing its formas provides a condition of lightness. It is this relationship between elements that interests me. From a language far from representation, I look for a síntesis in the meanings. That expression and contentment shake hands. In my work, matter not only shapes space, it also crosses it to compose new places. The planes are superimposed without losing their individual quality, to build dimensions that exceed them, where the material becomes inmaterial, and the opaque can be transparent. Emptiness and matter complement each other, changing our eyes, making new interpretations, staying always in motion. Dynamic balance is essential to me when considering new projects. The Essentials idea that my work moves within the scope of a dynamic and peaceful visual art at the same time, becomes increasingly important. Working from this position allows me to build mental spaces where there is a heterogeneity of ideas that can go in and out, as I a mable to find them. Give intuition and subjective thought its value, create solid pieces that can be swayed by the wind, change color by light, transform according to the way we look at it.

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Element Air
Element Air, walnut wood with leaf gold, making air visible - photos taken by myself
Markus Brinker, Wood
Das Projekt „Eichenkeimlinge“ ist Skulpturengruppe und Prozess zugleich. Es vereint totes, bearbeitetes Holz und lebendige Bäume: sieben Eichen in einer Reihe, die zunächst kaum zu sehen sind. Die Künstler nennen sie „Zukunftsbäume“. Die Natur nimmt sich Zeit. Nach fünf menschlichen Generationen könnten sie ausgewachsen sein. Sie entwickeln sich zum Zitat der Allee, aus der sie abstammen. Als Keimlinge trieben sie aus Eicheln, welche die Künstler in der historischen Fürstenallee in der Gemeinde Schlangen sammelten – direkt unter den für ihr Projekt ausgewählten Eichen. Die altersschwachen Bäume wurden gefällt und mit Unterstützung der Staff Stiftung ersetzt. Aus den Stämmen gestalteten die Künstler überdimensionale Keimlingsskulpturen. Sie sind Denkmal, Versprechen und Platzhalter zugleich: Sind die gepflanzten Nachkommen einmal genau so groß, ist das bearbeitete Holz wohl längst verwittert – ein gegenläufiger Prozess für Neugierige mit Geduld. Auch als Kunstobjekte bleiben die Eichenstämme ein Stück Natur mit allen Eigenheiten. In ihm hallen die Jahre des Wachstums wider. Der individuelle Wuchs der alten Bäume prägt die Skulpturen maßgeblich mit. Die Künstler spürten bei der Formgebung Richtungen nach und reduzierten sie auf Wesentliches. Sie entfernten kranke, morsche Stellen, schälten den stabilen Kern heraus und machten ihn sichtbar. Die Bearbeitung mit der Motorsäge ist nachvollziehbar geblieben – kein Glätten verbirgt die Spuren einer intuitiven Auseinandersetzung mit dem Material. So wird die künstlerische Arbeit zu einem Nachdenken über Natur und Gestaltung: Der Kreislauf des Wachsens und Vergehens ist unaufhaltsam. Die Künstler entscheiden über Ort, Ausrichtung und Wahrnehmung ihrer Setzungen. Den Rest erledigt die Zeit. Ort
Frank Nordiek, Wood
Ignorance #3
This is a combination of both showing ignorance as heads that are in the box, and some boxes are almost open and heads are about to come out from the dark. They are all connected.
Mehnoush Modonpour, Clay
Ignorance #4
In this sculpture heads are out from the dark (boxes that are shown in previous sculptures) but they don’t have ears and their eyes are not open therefore they can’t hear nor see.
Mehnoush Modonpour, Clay
In this sculpture heads are out and wonder. They have ears and their eyes are wide open in the overwhelming feeling of reverence and admiration. They are experiencing and understanding the unknown. They are in the state of admiring something beautiful, remarkable or unfamiliar.
Mehnoush Modonpour, Clay
Description in German, English and French - please scroll down Diese Skulptur wurde während der ersten harten (!) Lockdowns in Frankreich erstellt. Das seltsame Gefühl, der Freiheit beraubt zu werden, ohne einen anderen Mangel zu erleiden. Die Skulptur stellt Gegensätze dar und die Idee war, einen ähnlichen Ansatz zu verfolgen, wie das bekannte Yin-Yang, jedoch auf einer dreidimensionalen Ebene. Im übertragenen Sinne spiegeln die Gegensätze sich in dem oberen, hohlen, voluminöseren Teil und dem unteren massiveren Teil der Skulptur wider. This sculpture was made during the first hard (!) lockdown in France. The strange feeling of being deprived of liberty without suffering any other shortage. The sculpture represents opposites, thinking of the well-known yin-yang, the idea was to have a similar approach but on a three-dimensional level. In a figurative sense, the opposites are reflected in the upper, hollow, more voluminous part and the lower, more massive part of the sculpture. Cette sculpture a été réalisée lors du premier confinement en France. L'étrange sensation d'être privé de liberté sans souffrir d'autres pénuries. La sculpture représente les contraires, en pensant au célèbre yin-yang, l'idée était d'avoir une approche similaire mais à un niveau tridimensionnel. Au sens figuré, les contraires se reflètent dans la partie supérieure, creuse, plus volumineuse et dans la partie inférieure plus massive de la sculpture.
Jens Linnek, Stone
Description in German, English and French - please scroll down In einer ironischen Note versucht diese Skulptur, die Umstände eines Tinnitus zu beschreiben; die tiefe, innige Verbundenheit mit dem Ohrgeräusch, wie jene eines guten Freundes, der einen nie verlässt. This sculpture tries to describe with an ironic note, the circumstances of a tinnitus; the deep, intimate connection with the noise in your ear, like that of a good friend who never leaves you. Sur une note ironique, cette sculpture tente de décrire les circonstances d'un acouphène ; la connexion profonde et intime avec le bruit dans votre oreille, comme celle d'un bon ami qui ne vous quitte jamais.
Jens Linnek, Stone
A manifestation of the bond between humans, and that we are what we have received from our mothers through generations. The attachment of mankind shown as the umbilical cord, symbolizes our attachment to our background and past generations; wanted or unwanted. Worshiping the symbol of Mother that is the source of all.
Mehnoush Modonpour, Clay
United People
Human beings are members of a whole, In creation of one essence and soul. If one member is afflicted with pain, Other members uneasy will remain. If you’ve no sympathy for human pain, The name of human you cannot retain! a poem by “Saadi”
Mehnoush Modonpour, Clay
An installation for “LAND ART LUPANICA”, a land art international annual festival in Italy. It works on surfaces of trees as natural sculptures. According with traditional “patois” that I talk with my family, “pacioc” means “mud”: a special kind of mud, with a secret formula, it is used to make decorations over more than twenty trees that are growing in a part of a very very ancient forest that survive between Italy and Slovenia. In the formula, there is a bit of soil of the place. Different soil with different compositions make different colors of paint, according to “genius loci”, i.e. the spirit of that place. According to curators of festival, “wood is an open wall”, so it is ready to receive any kind of message. Mud shows an ephemeral way (the real essece of environmental art), a transient way (and so also a sort of pessimistic symbol of era that we live in) to express myself as man and as artist. No messages, only symbolic decorations. This is also connected to idea of “to leave a sign”, a trace on this earth. The mud applied to the trunks, then, is part of me, of my story, of my family and of the activity that we always do in agriculture. It's a traditional remedy we still use today to help a tree to repair wounds or diseases of the trunk and bark. Sublimating this gesture through an ephemeral artistic installation that decontextualizes it from its practical purpose and deconstructs it by reinventing it… here this seems to me one of the things that comes closer to my concept of art. http://www.lupanica.it/
Michele Giacobino, Wood, Natural materials
A link between human and their past, surrounding, tradition, condition and situation is described in this sculpture. The Umbilical Cord is what is binding the figures to each other. Their bodies are formed by the many faces together. Those faces are representing history, tradition, culture. One figure is in the support status that is firmly attached to the history and tradition. The other figure is in the state of flight and going forward, but, he’s attached with the Umbilical Cord and those many faces.
Mehnoush Modonpour, Clay
An installation for "BAS - BOSCO ARTE STENICO", a land art international annual festival in Italy. Reflection concerns water as a vital element. Growth rings of a tree represent a lifetime and before their growth has been cut off it has been influenced by the amount of rain fallen in the woods. They tell, in some ways, rain stories (rain poetry in the woods) and they themselves refer to concentric waves on the water's hair. We have to consider the vital importance of trees in the life cycle of the element necessary to life. The WATER well is also an ancient and emblematic element of survival, in this case with a decontextualized reference: instead of being the essence of an inhabited center is placed in the middle of a forest, realizing a double referring to a fairy tale: the forest and the well are both united by mystery and desire, attraction and repulsion. http://www.boscoartestenico.eu
Michele Giacobino, Wood, Natural materials
A work for the "MAF" museum in the park at the Nosedo sewage treatment plant in Milan, near the Chiaravalle abbey, within the 2020 schedule of the city's cultural initiatives dedicated to "Women's talents". It was born from the real imprint of my mother’s thumb (finger as symbol of humanity and fundamental element for human creativity), digitally reworked and transported to the ground in the way you can see in the attached photos. At the center of the work (and integrated with it) there is a wooden form, that refers to a seed, or a bulb ready to bloom, or a spindle, inspired by ancient fetishes of rebirth and fertility still visible in traditional festivals in some places in the Alps (see, for example, the "Puento" in Chiomonte, near Turin). Following an accurate preliminary study through both traditional drawing and computer graphics, each component of the work was handmade without the aid of machinery and following traditional techniques linked to ancient agricultural practices. In fact, it is a fundamental component of my poetics to relate to the landscape through artistic work to discover and try to overcome one's individual limits in balance with nature. Access to the interior of "Arianna", to walk through her labyrinth, it is forbidden to visitors by a museumstyle perimeter cordon to make people think, first, about the relationship between citizens and public art. Here are the curator's words about “Arianna” (please note English version below): Il filo conduttore della vita… Terra, natura, labirinto, filo e tessitura. I punti chiave per comprendere “Arianna”. La riflessione su una spirale che può assumere diversi significati in base al punto di vista da cui la si guarda o la si pensa, un’impronta digitale o magari un labirinto. Un filo che si avvolge in tante ellissi che girando attorno ad un fuso, crea un labirinto, reale e immaginario. Come nel labirinto del Minotauro è una donna che risolve il labirinto, Arianna, che ci aiuta a percorrere i solchi nella terra. All’interno dell’opera si trova un fuso, un intreccio creato dalla natura, Madre Natura che ci accompagna nel labirinto della vita con l’uomo che pone la sua impronta sulla terra. Un discorso sul territorio, sul paesaggio, un filo conduttore, come un corso d’acqua che crea canali che si intrecciano per creare una rete. Legno e terra, semplice, perfetto per un racconto, la trama di un tessuto. Gloria Longhi, curatrice The common thread of life... Earth, nature, maze, thread and texture. The key points to understand “Arianna”. The reflection on a spiral that can take on different meanings based on the point of view from which you look at it or think of it, a fingerprint or perhaps a labyrinth. A thread that winds itself in many ellipses that, turning around a spindle, creates a real and imaginary maze. As in the labyrinth of the Minotaur, it is a woman who solves the maze, Ariadne (Arianna), who helps us walk the grooves in the earth. Inside the work, there is a spindle: an intertwining created by nature, Mother Nature who accompanies us in the labyrinth of life, with man who places his imprint on the earth. A discourse on the territory, on the landscape, a common thread, like a river that creates channels that intertwine to create a network. Wood and earth, simple, perfect for a story, the texture of a fabric. Gloria Longhi, curator PHOTO CREDIT: for photo number 1, at the beginning: Google Earth for photo number 19, at the end of presentation: GLORIA LONGHI (special thanks)
Michele Giacobino, Wood, Natural materials
"Geometrie und Zahlen" 17 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
ETERNITY curated by Bruno Corà Villa Foscari - La Malcontenta – during Venice Biennale from may to october 2017 Forme di una scultura estesa nel tempo e nello spazio Installed on the lawn in front of Villa Foscari, La Malcontenta, in Mira, the spatiality of Janine von Thüngen’s sculptures Eternity I and Eternity II is dialectically fused with that of Palladio’s architecture. Separate in their individual stations en plein air, the two bronze works are also different in plastic terms. Eternity I is a set composed of six elements in bronze, of different shape and size, standing on the green mantle of the lawn and set at distances from each other corresponding to the Fibonacci numerical sequence of natural proliferation. Eternity II, on the other hand, consists of a diptych, again made of bronze, but of a substantially different appearance. The tall, open forms of Eternity I, although defined by an earthy patina, unfurl in the air like sails fluttering in the wind. Counterbalancing them are the two bronzes of Eternity II, placed opposite each other and covered by a matt white patina that makes them resemble two crumpled pages. Both von Thüngen’s creations derive their forms from the rough surfaces of hypogeic cavities that were once the catacombs of the Eternal City, Rome. The conquest of air, light and green by these cavities transformed into works of art is due to the qualifying action of the artist who, with tenacity, has realised her aesthetic and poetic dream. Eternity I and Eternity II, which as sculpture have an objective physical extension, develop the premises of a plasticity intuited as the ‘continuity’ of matter in space (Boccioni) and achieve the goal of emancipation from objectuality (Martini). At the same time, in the context of contemporary sculpture, they enact the miracle of encompassing the zero time of Eternity.
Janine von thungen, Bronze
ceramic-monster's 01-05
... eine Sculpturengruppe aus weisser Keramik | feingeschliffen
Bergit Hillner, Natural materials, Ceramics
"Geometrie und Zahlen" 20 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
Objekt und Skulptur
Ausstellung OBJEKT & SKULPTUR in Unkel Hier zeige ich bei den Skulpturen eine Auswahl meiner Bronze Arbeiten, ausnahmslos Frauen. Als Objekte zeige ich meine Reihe UMBRUCH. Diese Arbeiten sind in der Pandemie entstanden und spiegeln meine Wahrnehmung dieser Zeit wider. . . Exhibition OBJECT & SCULPTURE Here I show a selection of my bronze works among the sculptures, all women. As objects I show my series UPHEAVEL. These works were created during the pandemic and reflect my perception of that time.
Helga Kaes, Bronze, Metal
"Geometrie und Zahlen" 29 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
Vollmond, Bronze, ca. 27 x 112 x 25 cm, 2019
Dagmar Vogt, Bronze, Bronze
Was sie hier sehen ist das Modell für gegebenfalls öffentliches Werk. Es ist eine aus olivenholz gemeisselte Skulptur zusammen mit 3D scan und 3D print von einer Frau die sich die Ohren, den Mund und die Augen zuhält. das bedeutet: ICH SEHE NICHT ICH HÖRE NICHT ICH SPRECHE NICHT Wia auch andere von meinen Werken bezieht sich diese Aussage auf die heutige Umstände unserer Zivilisation, hauptsächlich der "Zivilisierten Zivilisation unseres Planeten, die allerdings diejenige sind die den Sachaden unseres Planeten versursachen-
Isabela Lleo, Wood, Stone
Die Baumtänzerin, Bronze, B65 x H285 x T50cm, 2020
Dagmar Vogt, Bronze, Bronze
Dieser Stier wird mit Strassenmalkreiden immer wieder neu gestaltet. Von mit stammt lediglich die schwarze Bemalung, nicht die Form.
Bernhard Keller, Mixed Media, Synthetic resin
Dreaming the woods III
The project “Dreaming the Forest” speaks of the ephemeral experience of standing in front of a tree; of the incorporeal experience of remembering nature. The third piece in the series is a video installation, in which you can see a body with a body artifact that helps to remember the living forest, the action takes place in a skeletal landscape desolated by the cold. This piece talks about the memory of the forest. The work is a contact with the earth, a connection with nature that is evoked by the music of the wind. The video-performance is projected on layers and layers of silk of different textures. This silk interlining is hung over a brass tube which in turn is hung from the ceiling. The layers of silk give the moving image a three-dimensionality by fragmenting the image and replicating it in the different dimensions expanding its reflection.
Tamara Jacquin, Metal, Textile
Somebody in there
Aus einem finnischen Granitblock schauen vier unterschiedliche Gesichter in alle Richtungen. Teils nur angedeutet, teils fertig fragen sie sich: Woher komme ich? Wohin soll die Reise gehen? Was habe ich für Ziele? Wer sind meine Freunde? Wie gehe ich mit Hindernissen um? Lebe ich wirklich mein Leben ...?
Stefan Kresser, Stone, Granite
Im öffentlichen Raum gelten andere Regeln der Größe für Skulpturen. In public space another dimention of sculpture is needed. oak/Eiche, horsechessnut/Rosskastanie, olive/Olive
Brele Scholz, Wood
Hello Golem “Magicamuska”
Participated the international sculpture biennial “Sculpture by the sea Aarhus 2015”. It became permanent installation in the public square in the city.
Savako, Plastics
Pas de deux Nº 2
from a new series from this year "Les Danseurs" that is paralell to the series of Exercise 1, that comes of the thinking that dancing alliberates the mind and helps and heels the body. necessary after this year and a hald of confinement, even is not allowed in big groups, the idea of dancing comes on a way of alliberating the the tensions produced by the pandemic
cristian Diez Sanchez, Natural materials
Pas de deux Nº 1
The Series "Les Danseurs" comes from the idea that actually after the pandemic people need to alliberate the mind and reax the body exercising. The concept of the dance is to comunicate and share while alliberating tensions and dramas brought by the pandemic. Music and dancing can act as therapy for releasing tensions
cristian Diez Sanchez, Natural materials, Others
Einzelfiguren/single figures
Alle meine Figuten sind nackt. All my figures are naked. cherry/Kirsche, oak/Eiche, ash/Esche, hornbeam/Hainbuche, robinia/Robinie, cherryroot/Kirschwurzel
Brele Scholz, Wood
Doppelfiguren / double figures
Häufig befinden sich Paare im Baum, die ich herausschäle. Often I can find double figures within a tree. horsechessnut/Rosskastanie, cherry/Kirsche, hornbeam/Hainbuche, ash/Esche, maple/Ahorn, olive/Olive, plane/Platane, peartree/Birne, beach/Buche
Brele Scholz, Wood
Powerhouse I
Alabastergipsguss Relief...... limitierte Auflage
Regine Jonas, Plaster
Powerhouse II
Alabastergipsguss / Wandrelief Relief : limitierte Auflage
Regine Jonas, Plaster, Natural materials
Reflecting the forest
The materials used industrially now returned symbolically and physically to the nature they came from. Trees in a forest carry a certain energy and their purpose is simply to grow, to live, and the industrial structures we build are ever as temprary as nature's. So the seemingly incongruous juxtaposition of corrugated metal trees in a forest position, question the relation between the human and natural, and even makes us question what is 'real'.
Karin van der Molen, Metal, Stone
Drei Nornen - Urd, Verdandi, Skult
The weird sisters of fate (the Three Norns) live at the fountain under the world ash tree (Yggdrasil). They spin the thread of fate and determine the destiny of the world and all individuals. They are called Urd (destiny), Verdandi (necessity) and Skult (need/ought to be) and thus are assumed to represent the past, the present and the future respectively. Made from oak tree each form reaches with their arms to the upper spheres and conducts the spirit into the hudge receptive body underneath – a body of resonance which hug the visitor. oak tree, chalked Die drei Schicksalfrauen (Nornen) leben im Wurzelgebäude der Weltenesche (Yggdrasil). Sie weben am Schicksal der Welt und aller Individuen. Sie heissen Urd (Schicksal), Verdandi (das Werdende) und Skult (Schuld; das was sein soll) und repräsentieren damit das Vergangene, die Gegenwart und die Zukunft. Aus drei Eichenstämmen hergestellt greifen ihre Arme in höhere Speren und leiten den Geist in den darunterliegenden Hohlkörper - einen Resonanzkörper, der den Betrachter zu umarmen scheint. Eichenholz, gekalkt
Klemens Pasoldt, Wood
Georg Lichter
Mit dem Autor Tilman Thiemig gestalte ich das Buch "Georg Lichter" Unser „Held“ Georg Lichter ist ein Erzähler in der Tradition des reinen Toren; denkt an Parzival, Simplicius Simplicissimus oder auch Forrest Gump, der die Gabe erlangt hat, die Welt anders, womöglich „wirklich“ zu sehen. "Als ich ein Kind war, sah ich die Welt wie Du. So, wie sie ja auch auf Postkarten oder Fotos gezeigt und bestätigt wird. Dort kann man ein Gesicht oder ein Haus oder ein Tier wiedersehen, das man kennt und weiß sofort: das stimmt. Ja ich sah die Welt, wie sie sein soll, zumindest auf den ersten Blick. Selten grau, meistens bunt, im Jahreswechselspiel der Farben. Nur träumen tat ich am liebsten in Schwarzweiß. Doch dann, am Tag vor meinem siebten Geburtstag, war da jenes Erlebnis zwischen Brombeerhecke, Komposthaufen und Pfaffenhutstrauch, das mir die Augen öffnete. Schon wenige Stunden später, ich beobachtete heimlich meine Mutter beim Backen meines Lieblingskuchen - Marmor mit ganz viel Schokolade -, merkte ich, dass mein Leben von nun an ein anderes sein würde." (Tilman Thiemig)
Bernd Schulz, Light, Mixed Media
Umgebaute Europäer/rebuilt europeans
Anfang 2014 begann ich die Europäer zu öffnen, sie auszuhöhlen, ihnen in die Köpfe zu schauen. Ich schaffe Innenräume, in denen komplexe Schichtungen sichtbar werden. Neue Materialien (Gießharz, Objekte, Tusche, Ölfarben) kommen zum Einsatz. Ein speziell entwickeltes Scharnier wird für jeden Kopf individuell angepasst. Der Betrachter übernimmt den Akt des Öffnens und Schließens. Ein Sich-hinein-versenken, wie vor einem Schrein, wird möglich. Unter dem Titel MASKEN UND VISIERE – UMGEBAUTE EUROPÄER stelle ich Fragen nach unserer europäischen Identität, nach der Wandlungsfähigkeit von einzelnen Menschen. Was macht unsere kulturelle Prägung aus? Wovon sind wir „besetzt“? Wie können wir uns öffnen? Die innere Vielschichtigkeit verweist auf die Komplexität der menschlichen Möglichkeiten. Seit Januar 2018 ist der Zyklus mit 28 Köpfen abgeschlossen. In early 2014 I began to open up the ‘Europeans’, to hollow them out, to look inside their heads. In the process, I create interiors in which complex layers become visible. I use new materials, (casting resin, objects, ink, oil paint). A specially developed hinge is individually fitted to each of the heads. The viewer takes over the act of opening and closing. Immersing him/herself, as in front of a holy shrine, becomes possible. Under the title MASKS AND VISORS - RECONSTRUCTED EUROPEANS I pose questions about our European identity, about the adaptability of the individual. What defines our cultural imprint? What kinds of things are we ‘occupied’ with? How can we open ourselves? The inner complexity gives pointers to the complexity of human possibilities. In January 2018, the cycle was completed with 28 heads.
Brele Scholz, Wood, Synthetic resin
Unrevealedness: Industry of Creativity
Installation in brass, glass, wool, industrial meters etc. photo: Jan Wilms detail. blown glass photo: Dan Foerster
Alexandra Bremers, Bronze, Metal
Banta 2.0
Banta 2.0 – An abstract 3d printed sculpture by Weibach2. It is made of PLA and partially filled with concrete. The front attachment is covered with fabric. The sculpture is colored with several layers of acrylic paint. Banta 2.0 is a unique piece of mixed media art.
Weibach2, Mixed Media, Plastics
"Ak.woba" is not based on any specific idea. They are just fragments from my subconscious. "Ak.woba" seems to me like a mixture of machine, organism and system. Something that must have been in the water for a long time. Perhaps a kind of shell that uses a man-made object as a base, which is already overgrown with an organic layer. In the lower area, the decay has set in from the inside out.
Weibach2, Wood, Mixed Media
The Tempest Prognosticator
Using a lodestone compass this work explores the phenomenon of electromagnetism making reference to recent scientific discoveries in geo-magnetism and magneto-reception. Its premise hinges on the fact that animals are connected to the earth in a fundamental way that humans are not. Recent science has revealed that animals have a sense that allows them to detect the earth’s magnetic field whereas humans do not possess this ability. The human species has literally lost its sense of direction. This is therefore the grand metaphor of the work – we have lost our sense of direction. Using a powerful magnet and series of compasses, a distorted anthropocentic power relationship is established to amplify humanity’s dominance over the natural world and our inherent shame. The invisibility of this power, the magnetic field, stands to remind us of the fact that we don’t see the enormity of the damage being done. What many are now calling the sixth great extinction. The work has layered content but at its heart is climate change, species extinction and humanity’s culpability in this process. Named after The Tempest Prognosticator by George Merryweather in 1851 this work is about the silence before the storm, the increasing rapidity of species extinction, in all habitats across the earth. See this working : http://richardpaton.com/the-tempest-prognosticator/
Richard Paton, Wood, Bronze
Alabastrgipsguss Limitierte Auflage
Regine Jonas, Natural materials, Plaster
Working in Spain, during an Art Residence in Barcelona. teaching a workshop in wood carving.
Victor Mangeng, Clay, Wood
Hergestellt in Macael, Almeria,Spanien, für die Ausstellung Sculpture by the Sea, Bondi und Cottesloe 2019 aus eigener Hand von der Kúnstlerin, ist nach einiger Zeit wieder eine grossformatige Sculptur entstanden. Huecos siklenciosos es una creación de caracter cösmico. Dos obras que podemos usar para transportar nuestras almas, huecos silenciosos entre las culturas. Inspirado en un árbol tallado que la artista vió durante su primera visita al Continente Australiano, HUECOS SILENCIOSOS transporta el espíritu ancestral de la cultura más antigua del mundo al material imperecedero mármol.
Isabela Lleo, Stone, Marble
Luise Rückert
Luise Rückert hatte im Gegensatz zu ihrem Mann Friedrich Rückert in Erlangen kein Standbild. Die die zwei Kinder Franz und Luise schon früh starben, ist dieses Bienenhaus eine Hymne des Lebens an alle drei. Die Mutter von insgesamt 10 Kindern steht als Bienenhaus im Botanischen Garten von Erlangen, bzw. im Egloffsteinschen Palais, ihrem früheren Wohnsitz.
Apisculptor , Wood
Pura Vida
Aus einem italienischem Muschelkalk-Block ist Pura Vida ( im Einklang mit der Natur leben und sie so natürlich zu lassen, wie sie ist) herausgearbeitet. Der Begriff Pura Vida beschreibt ein fröhliches und optimistisches Lebensgefühl, das die Ticos, die Bewohner Costa Ricas, auch dann an den Tag legen, wenn die Umstände von außen betrachtet nicht wirklich perfekt sind. Vielmehr gilt es, sich auf das Wesentliche zu konzentrieren, die schönen Dinge des Lebens zu genießen, andere so zu nehmen, wie sie sind und glücklich zu sein.
Stefan Kresser, Stone, Natural materials
Langraum mit Kreuz
Chapelroom Lying or standing, void or plenty, rest of move; vital decisions are made in the borderland between extreme positions of abstract thinking. Lime tree; made from one piece; white stained Liegen oder Stehen, Leere oder Fülle; Ruhe oder Bewegung; lebendige Entscheide fallen in der Grauzone zwischen den abstrakten Polen des Denkens. Lindenholz; aus einem Stück gearbeitet / weiss lasiert
Klemens Pasoldt, Wood
geometric serie in lindenwood colored with pigments and burned structure
Victor Mangeng, Wood
Power of Universe
Aus einem belgischen Granitblock ist dieses "monumentale" Werk heraus gearbeitet. Es soll Kraft, Bewegung, Unentdecktes, Verletzliches, aber auch Energiegeladenes mit Emotionalem verbinden und symbolisieren. Durch einen Fingertipp lässt sich der Stein in Rotation versetzen.
Stefan Kresser, Wood, Metal
In Zeiten wie diesen (Corona) möchte ich mit dieser Skulptur die Energie, den Mut und die Courage zum Aufbruch darstellen. Mit Verletzungen und Narben gezeichnet, wachsen wir furchtlos und selbstbewusst unzähligen, namenlosen Herausforderungen entgegen.
Stefan Kresser, Stone, Light
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