2Pashmin Art Gallery PASHMIN ART GALLERY With an experience of a quarter of a century, Pashmin Art Gallery possesses a wide range of associations in w

Transcription

1 29 April - 2 May

2 2Pashmin Art Gallery PASHMIN ART GALLERY With an experience of a quarter of a century, Pashmin Art Gallery possesses a wide range of associations in world of art with artists, galleries and museums. The gallery began its exhibitions with contemporary artists in 1990 and expanded its work with classic modern masters. The recent focus on globalization and internationalization of art lead Pashmin Art Gallery to present artists from five continents, while it is aware of significant cultural differences between them all. The main concept of Pashmin Art Gallery through presenting this vast scope of artists is to bridge the cultural and artistic gap between different cultures and countries. Pashmin Art Gallery has made a platform for organizing art events and exhibitions, publication of art books, and art management. Artists exhibited at Art Beijing 2012: Pablo Picasso, Salvador Dalí, Marc Chagall, Joan Miró, Auguste Rodin, Ernst Balach, Wolfgang Gregor, Heike Adner Bettina von Witzleben, Andreas Eiserbeck, Michael Sazarin, Wolfgang Kluge, Natalja Nouri, Alexandra Sokol, Sabine Pleyel, Ralph Hübschmann

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4 PICASSO 4Modern Classics Ceramic bowl Bull in the Arena (1948) In 1946 Pablo Picasso, the genius of the century became acquainted with the couple Ramié that lead the manufacture of ceramic Madoura. After that meeting Picasso s passion for ceramic art began. It excited him to express his power of invention not only in pictures but also with concrete material. With ceramics, he found a material that made the synthesis of painting and statuary art and also made the synthesis of utility and aesthetics possible for him. 毕加索 : 陶瓷碗 广场中的牛 (1948 年 ) 1946 年, 上个世纪的天才艺术家毕加索结识了 Ramié, 从而来到 Madoura 就此开启了毕加索对陶瓷艺术的钟爱 他开始了不仅通过绘画, 而且通过陶瓷来表达自己发明创作的渴望 在对陶瓷的探索中, 将绘画和雕塑完美结合, 并且使其在审美上也达到统一 与绘画一样, 艺术家可以通过陶瓷表述自己创作和发明的能力 毕加索

5 Pablo Picasso Bull in the Arena Ceramic bowl 32 x 39 cm 1948 Pablo Picasso Owl with outstretched wings Ceramic bowl 40 cm diameter

6 MARC CHAGALL 6Modern Classics Picture The Bird Dance of the Equestrienne (1959) The poetic painter Marc Chagall makes his own fantastic creations which are composed of elements of ancient mythology, religion ( as the richest poetic source of all time ) and his own metaphors or legends. As hybrids which get away from reality, the equestrienne seems to be a chimera of a bird and a lady. 马克 夏加尔 : 版画 女骑手的小鸟舞 (1959 年 ) 富有诗意的艺术家夏加尔的灵感来源于古代神话 宗教信仰, 作为有史以来最富有诗意的文字源泉以及自己创作的隐喻和神话 脱离了现实的女骑手其实是一个鸟和年轻女性的混合体 Picture Nude at the Window (1953/54) The couple in this lithography belong to the identifying features of the artist. He has used the colors which characterize this work like his paintings: It seems to me as I would miss something, if I had not [...] dealt with the engraving and lithography beyond painting. [...] Always when I stoop over a lithographic stone or a copper plate, it seemed to me as if I was touching a talisman. (Marc Chagall) 马克 夏加尔 窗前的裸体人像 (1953 年 /54) 画面中的男女是艺术家的典型风格, 使用了典型的色彩 我肯定会忽视某些细节, 如果没有超越油画而开始对版画和雕刻进行试验, 每次我触摸石质或铜制雕版, 我都感觉它就像一块护身符 马克 夏加尔

7 Marc Chagall The Bird Dance of the Equestrienne Original Lithography 94 x 79 cm (Framed size) 1959 Marc Chagall Nude at the Window Original Lithography 77,5 x 92,5 cm (Framed size) 1953/54 7

8 SALVADOR DALÍ 8Modern Classics Picture Circus: Ring (1965) Original color etching and aquatint with gold edition 1965, Edition 175. Autographed. Format in handmade frame with real gold plating and non-reflective glass. Framed size: 79 x 93 cm. 达利 : 版画 Manège (1965 年 ) 1965 年原版金版版画, 共 175 套 签名, 手工镜框, 真金底板, 无反光玻璃尺寸 :79 x 93cm Picture Christ (1964) Original Drypoint, 1964, edition 125. Autographed. Format in white handmade frame with real gold plating and anti-glare glass. Framed size: 84 x 71 cm. 达利版画 Christ (1964 年 ) 原版版画 1964 年, 共 125 套 签名, 手工白色镜框, 真金底板, 抗强光玻璃, 尺寸 84 x 71 cm

9 Salvador Dalí Circus: Ring Original color etching 79 x 93 cm (Framed size) 1965 Salvador Dalí Christ Original Drypoint 84 x 71 cm (Framed size)

10 JOAN MIRÓ 10Modern Classics Picture Preparation of Birds II (1963) Original color etching and aquatint 1963, edition 75. Format in handmade frame with real gold plating and non-reflective glass. Framed size: 71.5 x 81 cm. 胡安 米罗 : 油画 Preparation of Birds II (1963 年 ) 1963 原版色彩版画, 共 75 套 手工镜框, 真金底板, 无反光玻璃 装裱尺寸 71.5 x 81 cm

11 Joan Miró Preparation of Birds II Original color etching 71.5 x 81 cm (Framed size)

12 AUGUSTE RODIN 12Modern Classics Sculpture An Angel on the knees of Iris (1885), bronze This enchanting group of figures represents Iris, who is the goddess of rainbow and messenger of the gods in Greek mythology. Rodin models the beautiful Iris without the usual angel wings because Iris herself is the recipient of a divine message that the angel whispers in her ear at this time. Original: bronze, Musée Rodin, Paris. Created in 奥古斯特 罗丹 : 雕塑 彩虹女神膝盖上的天使 (1885 年, 铜制 ) 人像代表了彩虹女神, 在希腊神话中彩虹女神也是众神的使者 罗丹没有给她添加天使的翅膀因为她自己正在接受一项神的旨意, 一名天使正在她的耳边轻语 原版 : 铜制, 罗丹美术馆 巴黎 1885 年 Sculpture Bather (1880) Like The Kiss and The Thinker, this sculpture is a study of Rodin s never completed, legendary monumental work The Gates of Hell. She shows exemplarily the genius of Rodin s talking surfaces. Original museum replica: bronze, Musée Faure, Aix-les-Bains. Created in 奥古斯特 罗丹 : 雕塑 洗澡的人 (1880 年 ) 如同 亲吻 和 思想者 这尊雕塑是罗丹没能完成的大型史诗作品 地狱之门 展示着罗丹的 诉说 原版复制, 铜制,Musée Faure, Aix-les-Bains 博物馆 1880 年

13 Auguste Rodin An Angel on the knees of Iris Bronze sculpture 29 x 32 x 15 cm 1885 Auguste Rodin Bather Bronze sculpture 45 cm (height)

14 Ernst Barlach Singing man Bronze sculpture 20 x 20 x 14 cm Modern Classics Ernst Barlach Dreaming woman Bronze sculpture 31 x 14,5 x 11,5 cm 1912

15 Wolfgang Gregor Trojan dog Bronze sculpture 19,5 x 17 x 9 cm 2010 Heike Adner Fidentia sculpture, hand-painted Height about 83 cm

16 16Michael Sazarin A PAINTER PAINTS FOR HIS LIFE. AS ARTIST MICHAEL SAZARIN GOES THE WHOLE HOG. The art history knows only a few painters who immerse themselves with such dedication in the completion of their artistic work. That was not always like this for Sazarin. Before the painter devoted himself fully to his art, he has gone through the thinkable hardest school of the everyday life and has experienced firsthand all the classes, climaxes and deep hits of proletarian existence. He came as a child of refugees from Danzig to the bombed Hamburg, where he finished the school and his apprenticeship. In 1962 he emigrated to the U.S.. After being in the U.S. Army to do his military service, he returned to Hamburg and studied history of literature and art. In 1971 he began painting which had to be financed through sideline jobs. In Ashram in India, he apprenticed to both Buddhist and Hindu masters. From the Chinese and Japanese Zen artists, he learned how to deal with the ink and how to the handle the big brushes which the artist preferably should lead on the surface in one ingenious swing. From this time on, it is now important for Sazarin to turn inside out, to liberate himself even from the bondages of design. In Sazarin s informal, mostly abstract, large-sized paintings the metaphysics finds its way in boosts of flooded-with-light, transcendental, colors, bright like icons. The boundaries elapse between the visible and the invisible world, between this world and the other world, between immanence and transcendence. The picture, the artist says, paints itself. It comes to me, it flows through me, and it arises in my mind s eye and jumps from there directly on the canvas. But the art work remains unfinished in the last state. Something, says the painter, always has to remain open, unspoken. The idea is the highest value. Sazarin s way of painting is just as impulsive as expressive. Sazarin is never frozen academically, but reinvents himself with each of his paintings, which he develops directly out of the material. In most cases,

17 new colors are added to a torso, which is caused by spilling oil color. Thirty or forty different media are used in each work - oil, acrylic and ink, also carbon, chalk or coffee. There are also other elements in order to rough the surface and make it appear plastic: soil, sand, cement and various glazes to produce light and mirror effects. He also uses glue strips on which some letters or whole words are assembled on the picture. In addition to brush Michael Sazarin turns to the spatula again and again to work on his application of strong colors by squeegee blade. With his squeegees of different sizes and patterns, he adds on the first color applications something new with a slight pressure downward or sideways. He uses various techniques to blur, to drag or to make single segments porous in his pictures, so that in the end a difficult-to- dissolve puzzle of figurative and abstract painting is created. 一名为了生命而作画的画家 MICHAEL SAZARIN 全身心的投入 艺术史只见证过为数不多的艺术家能够如此投入的完成自己的作品 这位画家开始绘画创作之前曾有过常人难以想象的经历 他曾体验事业的巅峰和失去一切的低迷, 在 生活 这所最大的教育机构中插班学到所有最难的课程 他以难民的身份从格但斯克来到被空袭的汉堡, 在那里完成了学业并成为一名学徒,1962 年移民美国, 完成了美军兵役后回到汉堡学习历史, 文学和艺术学 1971 年开始绘画创作, 他通过自己的多份工作来维持创作的开销 之后在印度, 他成为佛教和印度教大师身边的学徒, 从中国和日本的禅学思想艺术当中学习如何运用水墨, 并用大号毛笔将 17

18 一幅作品的创作从头至尾用一笔勾出 从此,Sazarin 从既定之中解放自我, 以全新的形态重新开始创作 在他的清新的, 抽象的, 大幅的画卷中, 形而上的痕迹通过泛光, 颜色, 鲜亮的符号来体现 那些看得见的和隐藏的, 这个世界的和另一个世界的, 世俗的和超自然的也由此汇合 用艺术家自己的话说, 图画绘出了自我, 它来感悟我, 在我的身体内流过, 然后进入我心灵的视野, 从而直接出现在画面 即使这样, 作品还是没有完成, 有些东西需要有所保留, 而想法是最重要的 他的作品是富有冲动性的的, 也是富有表达欲的 他从不局限于一种创作手段, 而是在每一幅新的作品中, 通过不同媒介材质超越自我 大部分作品的主体都使用不同的颜色, 将颜料直接泼上 每幅作品中都使用了 种不同的材料, 油彩, 丙烯, 水墨, 碳粉, 粉笔或咖啡 还有一些材料用于将画面粗糙化并使其看似塑料, 包括了泥土, 细沙, 水泥, 通过各种抛光手段, 使作品呈现镜子般的效果 有时使用胶水将字母或整个字符黏在画面上 除了笔刷,Michael 还在创作过程中使用水泥铲和刮刀来为画面添加色彩 不同大小和形状的刮刀, 将第一层色彩添加于画面, 所使用的力度与方向都是创作的一部分 他还使用不同的方式将画面的某些特殊部分模糊化, 最终, 一个以油画形式呈现的, 难以解开的谜题出现在观众的眼前 18

19 Michael Sazarin Icarus Mixed technique on canvas 180 x 160 cm

20 Michael Sazarin Yet Mixed technique on canvas 200 x 160 cm

21 Michael Sazarin No Oil on canvas 160 x 200 cm

22 Michael Sazarin Dump Oil, varnish on canvas 160 x 200 cm

23 Michael Sazarin ABCDEF Mixed technique on canvas 80 x 120 cm

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25 Michael Sazarin Butterfly Mixed technique on canvas 100 x 80 cm 2009 Michael Sazarin Sugarloaf Acrylic and oil on canvas 90 x 130 cm

26 BETWEEN MICROCOSM AND MACROCOSM THE CONTEMPLATIVE PAINTINGS OF NATALJA NOURI 26Natalia Nouri In Natalja Nouri s life and artistic creation, the cultures, languages, concepts, symbols, and religions of East and West collide, merge with each other and are in relation to the mysterious symbiosis. Still one cannot easily assign Natalja Nouri to multicultural scene. She follows her own way, belongs to no school. The motifs, themes and creative tasks which she sets herself to, hold the world together in its innermost sense, the hidden connections between macrocosm and microcosm. Natalja Nouri draws micro-organisms which are compared with galaxies to put the unity of micro and macro cosmos obviously into the picture. She repeatedly cites the genetic chain to show how the source of man is connected with nature and with the entire cosmos in an entwined and indissoluble way. Even if there are larger formats, she works with the exact millimeter accuracy. Nothing is left to chance; even the smallest detail becomes the meaningfully designed miniature. The artist is tireless in search of symbolic and allegorical representations of mental, spiritual and psychological connections. Hence, she creates her own peculiar, idiosyncratic imagery. The interpretation of her pictograms requires a significant knowledge of theology, cosmology, psychology, the kabala, and mathematics. She works with traditional signs, symbolism and her own symbols. All works by Natalja Nouri entice the viewer to contemplation and meditation. The energy that emanates from her paintings in the form of currents flowing from darkness to light, from negative to positive, from male to female principle, does not seem wild and fierce, but tamed. This impression is reinforced by the fact that many of her symbolic works are characterized by hidden or overt symmetric structures. Her surrealistic and symbolist works are thought-centred. The strong Eros might be ordered to go under the Logos. She sets the colors always purposefully and never wastefully. In some of her works, she also approaches the pure abstractions.

27 在微观世界和宏观世界之间 NATALJA NOURI 冥思艺术 在 Natalja Nouri 的生活和艺术创作中, 东西方的文化 语言 概念 符号以及宗教相互交叉碰撞, 并相互融合共生 即使这样, 人们们还是不能将她的艺术定义于一个成型的跨文化领域 她自成一派, 不属于某个特定的画派 她的创作初衷, 主题以及目标均来自于对世界的内在认知, 那些隐藏的关联性体现在微观世界和宏观世界之间 Natalja Nouri 在画中将微生物和星系进行对比体现微观世界与宏观世界的统一性 她一再引用基因链, 从而展示人类与自然界的关联以及整个宇宙之间牢不可破的一体化 在大幅作品当中, 每一个细节都通过精致到毫米的推敲 画面中没有任何笔触产随意生于 她不断寻找着那些促使精神, 灵魂和心理相互关联的符号和寓意 因而, 作品画面充满了她自己创造的特异的元素 想要理解这些画面中的内容, 观众需要足够的对神学, 天文学, 心理学, 神秘哲学和数学的相关知识 她所运用的符号包括了传统符号和自己发明的符号 她的所有作品都将观众带入深思和冥想之中 画面中蕴藏的力量有克制性地推动着从黑暗到明亮, 从负极到正极, 从雄性到雌性的转变 艺术家的艺术风格的加强, 来源于这些充满符号的作品当中的明显的对称结构 超现实以及充满符号的作品通过思想的贯穿, 强烈的欲望被安置于符号的背景中 对于颜色, 她总要经过精心的处理, 从不锦上添花 而在某一部分作品当中, 她又追求着纯抽象的风格 27

28 Natalja Nouri The Martian Pencil, charcoal on paper 42 x 59 cm

29 Natalja Nouri Self-knowledge Pencil, charcoal, acrylic on museum board 100 x 70 cm

30 30 Natalja Nouri Yin Yang Pencil, coal on museum board 85 x 60 cm 2003

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33 Natalja Nouri Udjat Oil on canvas 120 x 120 cm

34 34Wolfgang Kluge STRONG COLORS, LARGE FORMAT: THE PICTORIAL WORLD OF WOLFGANG KLUGE Large abstract images with monochrome color areas which flow into one another arouse our suspicion that Mark Rothko influenced the early artistic career of Wolfgang Kluge. Clear shapes and colors simultaneously show his own signature, and, unlike the brooding works of Rothko, a positive and activist attitude of live dynamism, vitality and joy of living is seen in them. Kluge s mostly church-window-size works, aspire to be high and are like windows. From a distance of five or ten meters the beholder watches them as a panorama to an alien world. At close range you discover all the finest structures and recurring, ever-changing patterns which make each image a unique copy that even the artist himself cannot reproduce. Kluge uses a trowel to apply the color stripes lengthened or lively convoluted. These stripes are always sharp-edged. Exact lines, shapes and forms outweigh all possible roughness. Even if he wants to show a social issue, the artist has always a sharp sense of particularity for the pure shade of color for the human heart and eye. As a student, Kluge was encouraged by his teachers Harald Duwe who founded in the 60s together with Günter Grass and Siegfried Lenz, the SPD voter initiative through which his art was politicized. Kluge gets not in a special party, but is active more generally in political and social criticism. In 2003, at the beginning of the Iraq war, he created the anti-war picture Heckenschütze ( sniper ) which has, as a symbol of the senselessness of war, its validity beyond the daily news. Kluge also deals with the European debt crisis: The calm centeral Europe in the middle of the picture is threatened by a plethora of conflicting forces and interests. A surprising green is joined to the dark and fiery colors which symbolically connote that the hope for unification of Europe is dying at last. Generally, nothing humane is thematically alien to Kluge. Life and

35 death, love and hate, wealth and poverty, the deletion of national and religious barriers in order to be open for the meeting and permeation of foreign cultures. His sizes are not large because of their size, but because their overarching coherences are clarified by their excessive color fields. His paintings are windows and open the view to a world which is normally closed to the everyday perception. WOLFGANG KLUGE. 充满色彩的大幅画卷 也许是 Mark Rothko 影响了 Wolfgang Kluge 的早期创作, 那些抽象的充满单色的大幅画作总能使我们联想到 Mark Rothko 的作品 明确的形状和单纯的颜色是 Kluge 自己的风格 与 Rothko 的作品不同, 艺术家对立体主义的鲜活性和对生命的喝彩在 Wolfgang 的作品中站主导地位 Kluge 的画作以大幅作品为主, 像窗户一样地高悬, 从 5-10 米的距离外观赏, 画面对观众们看起来就像一个外来世界的广角视野 近距离可以看到细致的结构以及重复性并不断变化的图案, 使每幅作品都成为独一无二的, 甚至艺术家自己也很难复制 Kluge 使用扁铲让画面上的颜色条纹脉络清晰 明确的线条和形状在周围粗犷的画面中占主导地位 即使在探讨一起社会事件, 艺术家也是通过单纯颜色和形状来打动观众 在学生时代,Kluge 得到启蒙老师 Harald Duwe( 于 60 年代与 Günter Grass 和 Siegfried Lenz 一起受到德国社会民主党民的推崇 ) 的鼓励后, 他在艺术作品中放入政治元素 2003 年伊拉克战争初期, 他创作了反战作品 Heckenschütze 狙击手, 探讨了战争的无意义和战争在新闻报导以外的真实性 Kluge 探讨着欧债危机, 位于画面中心的宁静的中欧正受到来自不同方面的冲击 一条绿色线条在暗色和斑斓中出现 寓意着欧洲一体化终于即将垮掉 35

36 36 总体来说,Kluge 对人性的探讨并不陌生, 艺术家不断探寻着生命与死亡, 爱情与仇恨, 富有与贫困, 以及对外来文化的理解所需要拆除的宗教和国家意识的种种壁垒 艺术家的作品之大不在于画面的面积, 而在于画面内饱满色彩所清晰体现的相似的一致性 Kluge 的作品是一扇窗, 一扇通向另一个世界的窗, 而这个世界并不为人们所知

37 Wolfgang Kluge Walk Whak Oil on canvas 160 x 180 cm

38 Wolfgang Kluge Evolution Oil on canvas 180 x 180 cm

39 Wolfgang Kluge Rollings Heads Oil on canvas 90 x 120 cm

40 Wolfgang Kluge Europe 2 Oil on canvas 90 x 120 cm

41 Wolfgang Kluge New York Oil on canvas 90 x 120 cm

42 Wolfgang Kluge Black Box Oil on canvas 160 x 180 cm

43 Wolfgang Kluge Torando Oil on canvas 90 x 120 cm

44 44Ralph HübschMANN RALPH HÜBSCHMANN. WORKS WHICH LEAD TO CONTEMPLATION Ralph Hübschmann was born in 1957 in Greiz, Thüringen, Germany. His first contact with wood which lead to the study of nature and wood-sculpting was in Since 1997 he has been developing his personal style of sculptures with the focus on the aesthetic aspects and sensitisation of wood. His sculptures are all unique in the sense of being completely handmade. Each piece is worked out of one piece of wood and there are no additional details or subsequently added pieces except for pieces of amber, agate slices and silver alloy. The works of Hübschmann include thematically various areas of life. His work has developed in a time span of nearly 20 years since the time he made some baroque style furniture which wed practical comfort, design and fine art into refined masterpieces and a chess-table which depicts a battle between Egyptians and Romans. Over the years, he has developed his skill and his works tend more and more to abstraction and delicateness. He does not confine himself to only human beings or animals or plants but browses in man s mind, in nature, in books of fiction, history, religion and anywhere else to find the subject of his sculptures. Hübschmann proves to be a specialist in his art, someone who constantly and not sporadically works on wood and creates an impressive range of works. In 2008 Ralph Hübschmann won the Palm Art Award from Art Domain Gallery of Leipzig. Since his cooperation with Pashmin Art Gallery in 2010, Hübschmann has found a much larger audience due to his presence in international art fairs such as Contemporary Istanbul 2010, Shanghai Contemporary 2010, and Art Madrid More international fairs are in prospect like Art Beijing The artist himself speaks of his quest for asymmetrical symmetry and that is what is seen in his works. It seems as if an immortal hand

45 and art twist the sinews of wood and frame these elegant and thoughtprovoking asymmetrical symmetries. RALPH HÜBSCHMANN. 引人思索的作品 Ralph Hübschmann 出生于 1957 年的德国图林根 1987 年他第一次接触木材, 从而开始了木雕和对自然学领域探索 1997 年至今, 他一直钻研着木料自身的美学和独特的木雕风格 他的所有木雕均属手工制作 除了用琥珀, 玛瑙和银质细条添置于细节之外, 整体作品均来自于一块天然的木料 他的作品灵感来源于生活中的各个方面而作品风格在过去的 20 年间逐渐形成 他设计创作的巴洛克风格的家具将舒适度, 设计以及美术融为一体, 另外一张棋桌还原了古代埃及和罗马之间的一场著名战役 过去的几年, 他的作品不断地展现对抽象和细节的关心 作品中的形象不仅来源于人物 动物 植物, 还包括人类内心的波动, 神话故事, 历史事件以及宗教故事 他从未间断木雕创作, 已然成为这个领域的专家并不断创作出令人难忘的作品 2008 年 Ralph Hübschmann 赢得了莱比锡 Art Domain 画廊的 Palm Art Award 奖项 随着 2010 年与 Pashmin 画廊合作的开始, 他的作品出现在更多的国际性艺术展上, 比如 2010 伊斯坦布尔当代艺术展,2010 上海当代艺术展,2012 马德里艺术展, 并将参加今年的艺术北京 2012 艺术家在创作中探寻着 不对称的对称 并在他的作品中得以展示 就像是一只无形的手和木材的纹理共同促成了这些引人深思的不对称的对称 45

46 46 Ralph Hübschmann Tree of Remembrance Acacia/Amber H: 60 cm / D: 24 cm 2011

47 Ralph Hübschmann Callas Walnut H: 100 cm / D: 30 cm

48 48 Ralph Hübschmann Five Elements Cherry / metal alloy oiled / waxed H: 100 cm / D: 33 cm 2008

49 Ralph Hübschmann Thought 1 Padouk / sumac / metal alloy oiled / waxed W: 25 cm / H: 50 cm / D: 12 cm 2009 Ralph Hübschmann Thought 2 Padouk / sumac / metal alloy / amber oiled / waxed W: 21 cm / H: 42 cm / D: 12 cm

50 50 Ralph Hübschmann Facial Expression Cherry Tree H: 110 cm / D: 40 cm 2007

51 Ralph Hübschmann Phoenix Padouk / sumac metal alloy oiled/ waxed W: 41 cm / H: 60 cm / D: 38 cm

52 52 Ralph Hübschmann Melody 2 Acacia H: 42 cm / D: 20 cm 2001

53 Ralph Hübschmann Hummingbird with Butterflies Summac W: 60 cm / H: 95 cm / D: 20 cm

54 54Bettina von Witzleben BETTINA VON WITZLEBEN IN QUEST OF TRUTH IN COLORS Bettina von Witzleben is a painter who always reflects on her working process and controls it. The emotion that finds its expression in expressive, colorful and lively colors is captured by the rational element of the form. The artist prefers clear shapes, clean lines and clear, unmixed colors. In a time when the uncertainty is the highest virtue, and the vagueness of the statement makes the norm, she develops an aesthetic alternative plan, providing clarity where others want confusion, and return to colors message of their pure form. Art is a philosophic way for von Witzleben, it is a way to knowledge and truth, not boldly and propagandistically, but by means of artistic perfection. The colors connect us to the origin of our being. They are a direct expression of emotional states. In everyday language we see red, we turn green with envy, and we experience a blackout. Color values are always perceived subjectively. The artist draws on this diversity of perceptions through the targeted use of color to come to the unique effect of her works. In parallel each viewer makes his own image through her image. The artist says about her approach: My works appear without a pattern, starting from the spot on the canvas. I m concerned with the subjects which will be visible only through working with color, ink and sand in particular, also with nylon strings, dried flowers and feathers. In the alive carriers of any other content, I recognize shapes that inspire me thematically. I see faces, objects, more abstract things that move me, or set lines or to scrape. I follow those tracks over long periods of time, a streak changes the perspective, the slipstream offers me protection. The first step is the spontaneity evident in all subsequent steps, the reflectiveness which determines von Witzleben s pictures. The diversity of materials results in a relief-like surface structure which encourage us to look for different layers and deep dimensions of the images. Von Witzleben belongs to the noble Von Witzleben family. She was born in 1963 in Cordoba, Argentina, where her father had emigrated after the war. The family returned in 1966 to Germany and settled in Tübingen. There Bettina did her high school in Wiesbaden in l983. Then she graduated from vocational school for fashion and indust

55 rial manufacturing in Nürtingen. She has worked as headmistress in major fashion houses in Wiesbaden, Mainz, Stuttgart and Karlsruhe. Since the fashion industry seemed to her too commercial, she later studied at the Pedagogical University of Karlsruhe with a focus on art. Later, the now mother of three, attended the art school at Karlsruhe on nude drawing courses, pottery and painting, and went as often as possible to her studio. For her extensive body of work she has often been recognized intensely in recent times. In Bremer Art Spring in 2010, she was a candidate to receive one of the coveted audience awards. Bettina von Witzleben s small and large images are full of vitality and originality. The widely traveled artist owns a vast experience and a wide horizon. She has imagination and an eye for the essentials. Her pictures help us to consider the complex and contradictory world of today with new and open eyes. BETTINA VON WITZLEBEN 在色彩中寻找事实 Bettina von Witzleben 是一名通过理性捕捉色彩从而表达感情的画家 她偏爱清晰的形状, 明朗的线条, 单纯的色调 在不确定性成为最高理念的今天, 这位艺术家带给我们一套新颖的审美路线, 当他人徘徊在不确定之中,Bettina von Witzleben 为大家带来了确定性, 回归颜色的原始信息传达功能 艺术是 Bettina von Witzleben 的哲学, 并非艺术宣言, 而是通过对艺术的不断追求, 达到自我的不断完善 颜色连接着我们的内心深处, 并能传递我们的情感 在日常生活中, 我们有时满面通红, 有时脸色发绿, 有时印堂发黑 对颜色的认识一直是主观的 Bettina von Witzleben 通过对颜色的感知精心创作的作品, 使观众从中能够重新看到自我 她说 : 我的作品显现不出规律, 创作开始于画布上的一个点 我关心的是画面中的主题, 主题只能通过颜色, 墨水, 和沙子得以体现, 有时使用尼龙丝, 干枯的花, 羽毛等 在生动的载体中我能马上看到给我灵感的形状 面孔, 物件也能够给我灵 55

56 感, 或许画出线条, 或许进行涂抹, 第一步的基调在接下来的各步骤中都能看得出来, 在 Von Witzleben 的画像中我们能够明显地看到她的初衷 材料的多样性鼓励着我们洞察油画的多层面性 Bettina 于 1963 年出生在阿根廷, 出身于显赫的 Von Witzleben 家族 二战后, 他的父亲移民至此,1966 年重返故土,1983 年在德国完成高中, 在尼尔廷根完成时装与工业生产的相关学业 她曾在德国的多个城市的时尚设计中心担任领导 后来感觉时装行业的商业性太强, 从而在卡尔斯鲁厄教育学大学进修艺术学 现在是三个孩子母亲的她继续进修裸体美术, 瓷艺以及油画, 并经常前往自己的画室 近期的作品赢得了众多好评 在布莱梅的 Art Spring 2010 艺术展中, 她的作品在一项观众投票的奖项中获提名 Bettina von Witzleben 的小型和大型作品均富有生命力和原创性 行万里路的她拥有广阔的心境, 她对事物的关键所在有着独到的见解 她的作品有助于我们以新的开放性的视角去思考当今世界的矛盾性和复杂性 56

57 Bettina von Witzleben Sipan Acrylic-mixed technique on canvas 120 x 160 cm

58 Bettina von Witzleben Far East in West 1 Acrylic-mixed technique on canvas 100 x 100 cm

59 Bettina von Witzleben Far East in West 2 Acrylic-mixed technique on canvas 100 x 100 cm

60 Bettina von Witzleben Pick up 1 Acrylic-mixed technique on canvas 15 x 15 cm

61 Bettina von Witzleben Pick up 2 Acrylic-mixed technique on canvas 15 x 15 cm

62 Bettina von Witzleben Phase 1 (Time) Acrylic-mixed technique on canvas 20 x 20 cm 2012 Bettina von Witzleben Phase 2 (Space) Acrylic-mixed technique on canvas 20 x 20 cm

63 Bettina von Witzleben Phase 3 (Animal) Acrylic-mixed technique on canvas 20 x 20 cm 2012 Bettina von Witzleben Phase 4 (Human) Acrylic-mixed technique on canvas 20 x 20 cm

64 Bettina von Witzleben In the interior of the earth Acrylic-mixed technique on canvas 120 x 100 cm

65 Bettina von Witzleben On the surface Acrylic-mixed technique on canvas 120 x 100 cm

66 66 Bettina von Witzleben Game of string puppets 1 Acrylic-mixed technique on canvas 100 x 80 cm 2012

67 Bettina von Witzleben Game of string puppets 2 Acrylic-mixed technique on canvas 100 x 80 cm

68 Bettina von Witzleben Bright Face Indian ink-mixed technique on paper 20 x 20 cm 2011 Bettina von Witzleben Reclined Face Indian ink-mixed technique on paper 20 x 20 cm 2011 Bettina von Witzleben Young Woman Mixed technique with oil pencil on paper 20 x 20 cm

69 Bettina von Witzleben Young men, cross-linked Oil Pencil-mixed technique on canvas 20 x 20 cm 2011 Bettina von Witzleben Women in pastel shades Indian ink-mixed technique on paper 20 x 20 cm 2011 Bettina von Witzleben Emotional Face Acrylic-mixed technique on paper 20 x 20 cm

70 Bettina von Witzleben Interwoven Figure Beeswax 22 x 22 cm 2011 Bettina von Witzleben The figure with a vision Beeswax 22 x 22 cm

71 Bettina von Witzleben Object, fixed Beeswax 22 x 22 cm 2011 Bettina von Witzleben Figure/Landscape Interwoven Beeswax 22 x 22 cm

72 Andreas Eiserbeck ANDREAS EISERBECK. CHROMATIC IMPULSIVENESS AND HARMONIC RESTRAINT A quiet melancholy which emerges more stronger when one recognizes it, swims almost imperceptibly in his works. Born in 1960 in Hildesheim, the artist Andreas Eiserbeck creates not only paintings and drawings, but also works as a sculptor or writer. However, the focus remains on painting and drawing. The excursions to new and unknown areas are important for the artist to stay away from incestuous non-art; and to get closer above all to the art of independent expression. The subject of the human body is in the center of many works of the artist. His MOVEMENT paintings show almost faceless people, slightly blurred bodies, reminiscent of a secret sadness that can be discovered behind the boisterous bustle of the people. The motives of the Landscape images show something forlorn, the fallen palm tree or the lonesome beach property. It is interesting that many works are figurative on one hand, but on the other hand, they possess an abstract character; it is likewise significant to refer to the contrast between chromatic impulsiveness and harmonic restraint of colors. The works which present MAN AND NATURE are a sign of Eiserbeck s intensive search for the meaning of being is seen. He deals with the transience and renewal of nature. Inhabitants, for example of Martinique, are presented in their cultural environments. They adjust themselves skillfully with their situations, but they fall into the lethargy of a weekly recurrence and thus they cannot flee from their modest lives. Human traces in more natural areas indicate the criticism of civilization. From the repetition, from the circular of human behavior or of nature, a development -evolution- comes into being simultaneously. In another group of works, i.e., NUDE-PUZZLES, people go naked and deprived of their masquerades into the anonymity of the society in quest of security and safety. Their anxiety makes itself felt even outwardly. They won t meet the human closeness that they miss in the anonymous group. Everyone just runs but the humanity of man, like the family coherence remains. To paint nudes into puzzles which can be hanged as arranged puzzles or even mixed puzzles is the best 72

73 possible means to represent this theme. It is unnecessary to recognize the sexual situation of the nudes. What matters here is their social situation. Eiserbeck have also painted special form of PORTRAITS held mainly in blue. While blue is combined with yellow or red, an interesting counter-movement and rapprochement is created. The works were created at the turn of the second millennium: The faces show stress - their work captures their everyday lives and their outgoings capture their weekends. Despite this stereotyping, each portrait conveys certain emotions. Many of them are friends or acquaintances of the artist. Eiserbeck told his models to be there for three appointments. Through these times, their innermost beings were significantly immortalized and abstracted from their mere images for this purpose. Initially, the portrait subjects reacted shockingly to their counterparts. But on the second glance, they met themselves again. The HOLLOW-HEADS are the artist s own imaginative creation. Eiserbeck created them after he saw on his walks human traits in the tree trunks which were rammed in the sea for shell fishing. Because they are hollow, they can share their thoughts with each other and with human beings, so their being Hollow heads does not necessarily have negative connotations. In particular, people who go through the world with open eyes can start a conversation with them. The HOL- LOWHEADS are comparable to children, half-filled vessels who go to their conversation partners with a very open mind exchange lightheartedly with them. The attitude of many adults is like stone: immovable. The artist does not exclude himself. Eiserbeck s works are also stylistically his and cannot be easily put into established art schools. Most likely, if they are called abstract-figurative it might work. Mostly, Eiserbeck shows figuratively perceivable figures in a stylistically abstract way. Often the figurative elements in the foreground run into abstract backgrounds. 73

74 ANDREAS EISERBECK. 色彩的爆发以及和谐的抑制 一种不易被人察觉的淡雅的而又切实存在的忧伤在他的作品中随处可见 于 1960 年出生在希尔德斯海姆的 Andreas Eiserbeck 不仅创作架上绘画和油画, 并且在雕塑和写作方面也有造诣 但他依然保留着对油画的钟爱, 为了远离那些杂乱无章的伪艺术并接近自主的表达方式, 他经常前往陌生的地方旅行 人体作为其众多作品的主题出现在画面的正中央 在他的 动态 作品中, 透过几个看不清面孔的人物, 略微有些模糊化的身体, 观众可以发现在喧闹的人物背后隐含着一种秘密的忧伤的联想 景观作品中那些被遗忘的客体, 一棵倒下的芭蕉树, 孤独的海边别墅 他的很多作品都是一面是很富有象征意义, 另一面附有抽象意义, 就如同对色彩的爆发以及和谐的抑制在同一幅作品中同时出现, 值得一提 那些反映 人与自然 的作品表现了艺术家对存在的意义的追问, 洞察自然的变幻无穷 例如, 放置在自己文化环境之中的法属马提尼克岛的居民们在他的作品中也作为主题出现, 那里的居民正在适应着新的局面, 他们过着清贫的生活, 面对着每周重复的现象, 也只能无可奈何 自然界中的人文景观突显了对文明的品评 周而复始的人类行为, 发展与进化同时生成 在另外一件作品 裸体拼图 中, 人们是裸体的, 被剥夺了自己的面具, 进入到匿名的社会中寻找安全感 他们的焦虑不安更加明显 在这个匿名社会中, 他们感受不到人性的亲近, 然而人们依然 运转 着, 香火依然相传着 将裸体画嵌入拼图中是最好的反映这个主题的方式 人物的性趋向已经不重要, 重要的是他们所处的社会现状 艺术家还创作了特殊的蓝色基调的人物画像 当蓝色加上黄色或者红色, 一种有趣的反运动得以呈现 这些作品创作于 2000 年前后, 人物的面孔诉说着压力, 他们的工作代表着他们的生活, 他们的娱乐代表着他们的周末 虽然是一种典型化, 但是每幅画像都诉说着特定的情感 画面中的人物是艺术家生活中的朋友 艺术家告诉这些人需要来画室三次 从中, 这些人物的内心世界得以永生, 并从他们的真实生活中抽象化 最初, 这些人面对画像中的自我时感到惊讶, 当再次观看, 他们重新认识了自我 74

75 空头 是艺术家自己的想象创作 在海边看到用来养殖贝壳的, 具有人形的树杆被嵌入沙滩 它们是空心的, 因此它们可以互相交换思想, 并与人交换思想 因此, 空空的头并不一定就是坏事 放眼看世界的人们可以方便与它们进行对话 空头可以用来比拟儿童, 只承载着半瓶水的他们, 永远愿意和他人兴高采烈的讨论任何事 成年人的态度更像石头, 无动于衷 艺术家也是这样认识自己的 Eiserbeck 的作品有自己独特的风格, 因而不能简单地被定性, 或贴上标签 画面前身的比喻元素渗透进入画面背景的抽象之中, 所以, 抽象比喻最能接近他的风格, 75

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77 Andreas Eiserbeck Le Prechêur Oil, coal on canvas 54 x 73 cm Martinique

78 Andreas Eiserbeck Mouvement Le Marin Oil, coal on canvas 72 x 116 cm Martinique

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80 Andreas Eiserbeck Mouvement à la plage Oil on canvas 70 x 110 cm Martinique 2009 Andreas Eiserbeck Mouvement à la plage Oil on canvas 70 x 110 cm Martinique

81 Andreas Eiserbeck Untitled Oil, coal on canvas 97 x 130 cm Martinique

82 Andreas Eiserbeck Palmier I Oil, coal on canvas 40 x 85 cm Martinique

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84 Andreas Eiserbeck Triptych, Nightlife Oil on cardboard canvas 50 x 210 cm Munich

85 85

86 Alexandra Sokol ALEXANDRA SOKOL. ARTIST AND HERALD OF A NEW GENERATION Alexandra Sokol brings the best conditions from her home country. She comes from an artistically committed and interested Russian- Jewish family. She was born in l988 in the Ukrainian port of Odessa, an ancient cultural metropolis on the coast of Black Sea, where Jews, Christians and Muslims have lived together neighbourly over many generations. As she was five years old, she came to Germany with her family as a contingent refugee and was finally settled in Hanover. At the age of 17, Alexandra won the art competition Young Design. After school she studied painting and graphics at the practice-oriented Academic Art School in Hanover. This excited her to create sensitive drawings and colourful compositions in the manga-style during her studies. She also focused on comics and animation drawings and received her diploma in During a stay in the Far East Alexandra Sokol got numerous ideas and inspirations that have found expression not only in her choice of topics, but also in the soft and delicate drawing techniques. The artist s artistic outburst started in her teenage years. Her adolescence was marked by the anime and manga wave on the move around the turn of the millennium. She grew up with the heroes of the endless TV series and began, very early, to empathize with her drawings in the fantasy world. Without fear and with a youthful insouciance she takes up motifs from the realm of dreams and moulds them into her own media and unconventional ideas for pictures. While still 23, Alexandra Sokol has already made remarkable works of art. *** The 23-year-old Alexandra Sokol is one of the youngest German artists with an imminent great career. Her imaginative and powerful works already refer to her picturesque and graphical talent for drawing, as well as her solid technical development. 86

87 A trip to the Far East influenced her choice of subjects and her carefully devoted, detailed implementation of soft and precise technique of drawing. In addition, the anime and manga wave, which was on the move around the turn of the millennium, affected the early attempts of the teenager. The motifs of the fantasy worlds are not resumed, but transferred to the artist s ideas. The early nude drawings refer to a proven hand and sense of proportions, which are preferably baroque. Everyday objects become signs under her hands. Thus, approximately a mobile phone becomes a bomb, which is similar to a monster. But Alexandra Sokol s potential shows itself most succinctly in the colorful anime and manga adaptations. Both, motifs of Japanese fairytales and legends or Alice in Wonderland and Russian fairytales inspire the artist. In her self-portrait a woman opens her kimono and shows her luscious breasts and belly, but after a closer inspection, her body seems to be so transcendent as a second kimono which mantels the soul. In the portrait it is evident that the pictures are created in three stages. Sokol often starts with a pencil drawing, uses acrylic for the contours and finally paints with oil or sometimes with watercolor. In this connection, the artist loves the pure, clear tones and avoids mixtures. Alexandra Sokol is part and protagonist of a new globally connected generation that is beginning to develop its own language of arts. This young new movement braves all crises and looks to the future with utmost optimism, joy and honesty. ALEXANDRA SOKOL. 新一代艺术家的先驱典范 Alexandra Sokol 带来了她祖国最美的艺术 她来自一个对艺术感兴趣并且为其付出的俄国犹太家庭 1988 年她在乌克兰的海港城市奥德赛出生, 那是黑海边上的一个历史悠久的文化城市 那里, 犹太教徒, 基督教徒, 伊斯兰教徒世世代代和谐相处 五岁那年, 她与家人以难民身份来到德国, 最终在汉诺威定居 17 岁那年, 她在 Young Design 青年艺术设计赛中夺冠 87

88 学习之余, 她还在汉诺威美术学院进修油画和平面设计, 这使得她开始创作风格细腻, 五颜六色漫画式的作品 2010 年取得了漫画及动漫领域的结业文凭 之后, 远东的一次旅行使她产生了对于主题以及细腻绘画的新的表达方式 Alexandra Sokol 对艺术的渴望产生于青年时期 她的青春期伴随着千禧年的动漫浪潮, 伴随着电视剧中的英雄, 很小的时候她便开始绘画出脑海里的幻想 不受任何束缚, 她将梦境中的想法呈现到绘画以及自己创造的媒介之中 年仅 23 岁的 Alexandra Sokol 已经创作了令人难忘的艺术 23 岁的她是一名前途无量的青年德国艺术家, 她富有想象力并充满力量的作品来源于她对绘画和设计的天赋, 以及她对科技的良好运用 远东的旅行影响了她的选题, 以及细密笔触的运用 此外, 千禧年间的漫画潮流影响了这名青年的最初的艺术初衷 她的幻想世界在梦境中得以延续, 并作为主题出现在她的油画作品中 早期的裸体画展示了她巴洛克式的绘画技巧以及对比例的良好掌握 日常用品在她的笔下变成了符号, 一个手机变成了一颗炸弹, 一个恶魔 然而,Alexandra Sokol 的天赋在她的漫画作品中最为突显 日本传说故事中的人物, 爱丽丝梦游仙境以及俄罗斯民间故事都影响着她的创作 在她的 自画像 中, 一个身着和服的女性解开腰带, 展示着丰满的乳房和肚皮, 仔细观察, 我们看见她的身体是如此的透明, 好像穿着另一身和服遮掩着她的灵魂 自画像的创作过程分为三个阶段, 一般开始于铅笔勾线, 再用丙烯呈现背景, 然后油彩或水彩填充细节 因此, 她青睐于纯色调, 尽量不去混色 Alexandra Sokol 是全球互联的新一代, 是拥有自己艺术语言的青年艺术家 这一代年轻的艺术家们乐观而又诚实, 面对充满危机的当今世界, 大步地走向未来 88

89 Alexandra Sokol Untitled Oil / Acrylic on canvas 60 x 80 cm

90 Alexandra Sokol Fukushima Oil / Acrylic on canvas 60 x 80 cm 2012 Alexandra Sokol Princess Kaguya Oil / Acrylic / Watercolour on canvas ca. 60 x 100 cm 2006/

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92 SABINE PLEYEL. THE SCULPTOR OF DEEP IDEAS IN STONE AND BRONZE Sabine Pleyel Sabine Pleyel, born in Vienna in 1958, residents and works in Vienna and at times in Oronsko/Poland. From 1978 she studied with Professor Lois Egg at the Academy of Fine Arts in Vienna and completed her studies in 1982 with a diploma. It was followed by further studies in the Vyssi odborna Skola Filmova Trick-and animation film school Zlin/CZ, as well as in the sculpture center Oronsko/Poland. As early as 1985, she was responsible for designing the equipment of many stages for film and television, and show-designs for the various game shows and video clips that were shown on channels known as ORF and PRO7. Since 1998 she has worked intensively with animated cartoons and installations. In addition, the versatile artist also designs for museum areas and develops illustrations, graphics and animation films. Since 2004, Sabine Pleyel has developed her typical works in stone, ceramic and bronze. She is a member of the IG Fine Arts, the ASIFA Austria and of the sculpture network. Her work is diverse and the collection is extremely extensive. After numerous exhibitions in Austria, Italy and Poland, the current the international art scenes are becoming more and more attentive to Sabine Pleyel s sculptures. The artist is deeply committed to her material, preferably, stone or bronze. The choice of material is tied to the question whether it is suitable to complete the imagined idea. To incarnate her idea in the still virgin material, she looks into it until she reaches the limit at which the artistic spontaneity meets the brittleness and weight of the material. Her artistic inspiration and creativity undermine the laws of physics to find solutions to their achievement. Soon afterward, the easiness of a moment turns into stone, and a result between conception and completion is achieved. The testing of this barrier is an important motivation for her art, the reason why she uses her tools again and again to hover over the matter, to petrify the ephemeral, to follow her curiosity, and expose the hidden material, but she lets a part of the original body remain. 92

93 That some part of the material remains unprocessed, enhances meaning of the object: in its final form, something unanswered remains which opens the chain of thought. The viewer is increasingly tempted to imagine his version of the completed sculpture. One of the most significant characteristics of our lives is that everything slides and flows away (Hugo von Hofmannsthal), while we are forced simultaneously to look back and forth. This is the reason why Pleyel s stone and bronze sculptures search an answer for the questions Where did we come from - Where are we going what do we leave behind? Pleyel s works touch on philosophical issues concerning the people in his world. In addition, the artist meets deep-inman-rooted often psychological issues as she works into her material: it is the attempt to express the basic themes of life understandable and easy to read: love, death, eroticism, pain, hope, sadness, good luck... from which we cannot escape. (Pleyel, 2009). Sabine Pleyel s exploration of limits in the use and exploration of the most bulky material won t finish so fast. Her sculptures express complex questions with the help of intelligent ideas and the selection of appropriate materials and let enough free room for the interpretation of the viewer. The international art scene looks forward to Sabine Pleyel s further artistic development. SABINE PLEYEL. 富有深刻思想的石质和铜质雕塑 1958 年出生于维也纳的 Sabine Pleyel 至今依然居住并工作于维也纳, 有时她会前往波兰的沃兰斯科 1978 年, 她在维也纳艺术学院 Lois Egg 教授的指导下学习并于 1982 年获得结业文凭, 然后前往捷克兹林电影学院和沃兰斯科雕塑中心继续深造 早在 1985 年, 她便全权负责 ORF 和 PRO7 电视台播出的众多电视, 电影的陈设背景设计 她于 1998 年开始了漫画和装置艺术的探索, 同时涉足博物馆展览空间的设计以及多个插画及平面设计和动漫电影项目 Sabine Pleyel 独特的石 瓷及铜质雕塑风格开始成型于 2004 年 她是 IG Fine Arts 和奥地利国际动漫电影协会 ASIFA 以及雕塑 93

94 协会的成员 她的作品所涉及的主题广泛, 多次参加过在奥地利 意大利和波兰的国际艺术展, 这使得国际艺术界正在越来越多地关注她的作品 艺术家对所使用的材料非常用心, 选取最好的石料与铜料 选材取决于是否适合所要表达的初衷 为了实现这些艺术初衷, 艺术家将材料的承受力推到破碎的临界点, 以此寻找与艺术初衷的对接 她的某些创意有时超越物理定理, 从而需要寻找新的解决办法达到作品的理想状态 概念与现实相遇, 标志着创作的完成 而这两者之间的障碍是她艺术创作的动机, 这就是为何她一次次的在原料上雕琢, 短暂的石化, 跟随着自己的好奇心使藏在深处的原料渐渐显现, 然而最终保留下来的只是原料的一小部分 原料的一部分保持原始状态, 加深了作品的用意 : 最终, 没有得到解答的那一部分将开启观众的思想, 观众将用自己的幻想来完成雕塑的最终模样 生活中最有意思的一个现象就是当我们无奈地瞻前顾后时, 一切正在随之流走 --Hugo von Hofmannsthal 我们来自哪里, 我们将去何方, 我们将留下些什么? 艺术家的作品中所涉及的哲学思考影响着她身边的人 在对材料进行加工的同时, 艺术家也探寻着人类心理深处的感情并加工到材料当中 : 爱情 死亡 情色 伤痛 悲伤 福运 以及我们无法逃脱的一切 --- Pleyel 2009 年 Sabine Pleyel 对粗犷材料的极限探索不仅限于此 她的雕塑通过智慧的构思以及合适的材料, 表达着复杂的思想, 同时留给观众足够的想象空间 国际艺术界正期待着 Sabine Pleyel 的新作品问世 94

95 Sabine Pleyel Venus Marble 40 x 30 x 17 cm

96 96 Sabine Pleyel Chava Granite, ebony, gold leaf 25 x 6 cm 2009

97 Sabine Pleyel Greed Quartzite, Bronze 13 x 21 x 25 cm

98 98 Sabine Pleyel Unity Zebrano Wood 33 x 10 x 10 cm 2010

99 Sabine Pleyel Garden of Desire Granite, Grass, Bronze 20 x 17 x 30 cm

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101 Sabine Pleyel Yin Yang Granite, Bronze 10 x 10 x 22 cm

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103 PASHMIN ART GALLERY Director: Nour Nouri Tratzigerstr Hamburg Germany Tel.: +49 (0) 40 / Fax: +49 (0) 40 / info@ pashminart-gallery.com Texts: Dr. Peter Schütt Davood Khazaie Katharina Siegel Wilken Wehrt English translation: Davood Khazaie 103

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