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Uli Fischer, a master in combining textiles and paint application as well as tracking down textile materials worldwide. On his pictorial objects, sewn on canvas, he allows structures, colors and injuries of the fabrics to take effect. Patina, traces of use become color gradients, similar to the color layer painting of old masters, and set accents. He uses the transparency, made by the use of flimsy material, for deposits, thus creating new spaces, but leaving the fabrics their autonomous quality. They are transformed into artistic material and thus once again.
"Every object has a soul, and this soul can be exposed by making the object vibrate". John Cage's idea is the guiding principle for Uli Fischer to bring materials from the past to light with his very individual way and to connect them with the present. Worldwide diversity is combined with absolute reduction in representation. Uli Fischer lives and works in Berlin. International solo and group exhibitions have shaped his artistic work.
Images: Matthias Sienz
Heavy material - en bloc. Whether stone or glass, from nature or industry, at the beginning of the creation process the material appears shapeless, inaccessible or even unsuitable. It is the sculptor's gaze that looks from the outside in and recognizes the future beauty and form in the block. An intensive dialog begins, layer by layer, which ultimately leads to a sculpture whose form, lines and surface fascinate the viewer. The artist's idea and the given material structures develop a positive resonance that we, as outsiders, sense without being able to describe it.Mechthild Ehmann develops abstract forms that radiate a high degree of emotionality, sensuality and aesthetics. It is the clear lines of abstraction that guide the viewers’ gaze and reveal the uniqueness of her sculptures. Works of art that are inextricably linked in their language and design with the name Mechthild Ehmann.
Images: Matthias Sienz
"The inexhaustibility of art shows me the limitations of reality." The artist Rüdiger Seidt's tireless search for the perfect form could not be better described than with his own quote. Derivations from nature flow into his, as he puts it, modifications of the tetrahedron. Whether circle, undertow, swirl, tulip or fish - all the sculptures rested within themselves and appeared warm and soft to the visitors, although there are hardly any harder and colder materials than Corten steel. Their aesthetics and perfect formal language created a harmonious dialog with the dynamics of the medieval rooms, inviting guests to linger. They had often admired the sculpture on the town hall square, which was part of the exhibition and fitted into the overall picture on the historic square in a contrasting yet harmonious way. The exhibition closed on 15.10.2023.
Images: Matthias Sienz
A special and highly acclaimed exhibition came to an end on June 25, 2023. Visitors from Munich to Zurich and Flensburg bought pieces of this completely new and unusual series of images. Many of the buyers already collect pictures by Horst Heilmann from earlier creative periods and have added the mountain impressions to their selection, which often spans decades. It is precisely the working method that has driven Horst Heilmann in this series, appreciated by visitors and buyers alike: personal experience, sensing and grasping on many paths in nature, to then recreate his image of the mountains with his very own handwriting, structure and color. His goal is not the depiction of reality, but the interpretation of the landscape surrounding him in front of his inner eye. A landscape that inspires.
Images: Matthias Sienz
Hard or soft, flexible or rigid. Guido Weggenmann shakes up established perceptions. His forms often come from nature. Translated into artificial materials, they appear unusual or even startling. Often it is the coloration that draws the viewer's attention and causes them to get a closer look. Material can be anything, whether new or used, industrial or natural. The crucial thing is that it can be brought into shape by his hands. Upon closer inspection, the viewer sometimes doesn't know if the sculpture is still in the process of being shaped or is already in motion again, on its way to becoming a new object. One thing is certain, they are objects that always unfold a new impression - depending on the mood of the viewer.
Images: Matthias Sienz
Celtic Castings is the title of a series of sculptures that Gerold Jäggle has been pursuing since his studies in the late 1980s at the Academy of Fine Arts in Stuttgart. His extraordinary ability to cast, manipulate and stage bronze in the style of the Bronze Age of 2500 years ago led him to London with a teaching position at the Royal College of Arts, where he taught a class in Celtic Casting for over a year. Newly created in 2021, the series is particularly notable for its varying coloration of the bronze after casting, as well as the deliberately designed two-part stone form. In individual sizes and characterized by free-flowing molten metal, extraordinary one-of-a-kind pieces were created, which inspire the viewer's imagination with light and shadow and carry them away into the mythical world of the Celtic past.
Images: Matthias Sienz
In the works "Baroque Heads" the sculptor Gerold Jäggle explores the baroque heritage of his Upper Swabian homeland, inspired by the sculptor Johann Joseph Christian (1706 - 1777) from Riedlingen. In monumental sculptures the artist forms baroque glory detached from the clerical context and interprets the diversity of this epoch in a cheerful and ironic style. The large sculptures are accompanied by maquettes and gives insight into the creation of the works in the form of short films (YouTube: Gerold Jäggle, Freelance Sculptor). Gerold Jäggle grew up with the Upper Swabian Baroque. Not far from his hometown of Ertingen are Steinhausen, Schussenried and Zwiefalten, to name just three outstanding places that have shaped his passion for sculpture.
Images: Matthias Sienz