BOGDAN ALEXANDROV – A Modern Bulgarian Master

28 06 2013

Dear Friends, it has been a while… forgive my inconsistency! While the desire to write about artistic events and work that interest me is as usual boundless – time seems to be the only limitation. However – for those of you who enjoy these writings, that come from the heart of my love for Art , I am restarting my writing with this post– about a Bulgarian artist, whose work has crossed boundaries. I have always wanted to devote special posts to my Facebook ‘discoveries’. Some of these Artists  are unbelievable.1  Susanne Kessler ( a sophisticated installation Artist from Germany ), Philip Geist, Ross Ashton ( brilliant Multimedia artists from Germany and Great Britain ) ,  Cliff Garten ( a California Public Artist with incredible visions) to name a few.  These artists have something in common – they are absolutely brilliant! And inspirational!

     SUSPENDED (E)MOTION

As I promised in the beginning – I only show you artists who have in some way astounded me and inspired me. That is a promise I will keep! So before I resort to presenting each an every one of them in time, allow me to present you a very talented and masterful BOGDAN ALEXANDROV, whose latest work, that was exhibited in Yuzina Gallery(2013) –  I also encountered on Facebook.  The genuineness of his vision is undisputed. His latest exhibition in Sofia  has created quite a sensation. It id here – on the West coast by means of digital  media. The large canvases  by Bogdan Alexandrov convey a certain mood, that seems to captivate the viewer and leave a lasting impression. AndBOGDAn ART (3) makes us think. Makes us relate to the people in the images. ” What are they thinking? What are they talking about…? “After these questions fade away , we discover that it does not really matter. What matters is – that these paintings have captured a moment in time – that will never happen again. The eternal ‘now” as the Zen philosophy points it. The only moment that actually exists.

Regarding his method, in Mr.Alexandrov’s own words: ” Nowadays , people document life with greater ease than ever.” Says the Artist. ” Equipped with new technology, reporters, filmmakers and artists are “capturing” images constantly. The digital medium transmits images in a format, where the image is reduced to a time code and is modified by the imperfections of he optical systems being used.” These imperfections have been superimposed and intelligently used as the foundation of his method, that is difficult to define – by creating the illusion of the movement, without the still  frames…

BOGDAn ART (4)The Artist: “In my works I depict the characters by synthesizing multimedia images in a series of transitional transparencies. Their hands, faces, gestures and movements are in a state in which the conventional two-dimensions representational painting is replaced by the dynamic of the movement.”

The Artist Bogdan Alexandrov lives and works in Bulgaria, his website and his blog  are: http://bogdanaleksandrov.blogspot.com/

Enjoy !

Your Truly.

IMG_0016

Tsvetana  for

TheArtChronicle

For Your Viewing Experience – Below is Bogdan Alexandrovs List of Exhibits

__________________________________________

Bogdan Aleksandrov, Born in 1960, Vidin, Bulgaria.

 1

1989 – “St. Cyril and Methodius” University, Veliko Tarnovo, Bulgaria,

M.A. in Fine Art Painting.Lives and works in Vidin, Bulgaria.

Solo Exhibitions:

2012 “Purgatorium”, Rayko Aleksiev gallery, Sofia, BG. Curator Desislava Moneva.

2012 “Creation from nothing”, St. st. Cyril and Methodius University Veliko Turnovo, BG. Curator Georghi Minchev.
2012 “Local cooling”, Gallery L’Union, Plovdiv, (BG), painting.

2010 “Panta rei”, painting, Novi Sad, Serbia.

2010 “Noise”, Sofia City Gallery, Sofia,(BG), painting, sound installation.

2008 “Entrebaillement” Cite International Des Arts, Paris, France,  Video projection and performance

2008  “mixed”, Art Alley Gallery, Sofia, (BG), digital print, painting, video,drawings.

2007 “Initial E”, Gallery L’Union, Plovdiv, (BG), Video installation, work on handmade Japanese paper.

2007 “Replacement” , Nikola Petrov Gallery, Vidin (BG), painting and video projection,  curator Gordon Carter

2006 “Residual image”, Narodni muzej, Zajchar, Serbia

2005 “Residual image”, Stara Capetanjia Art Gallery, Zemun, Belgrade, Serbia and Montenegro

2003 “Anthropomorphous version”, National Art Gallery, Sofia (BG)

2002 “My Glagolitsa”, painting, Sofia Art Gallery, London (UK)

2001 “Shores”, painting, King’s Head Gallery, Presteign, Wales (UK)

1999 “Metamorphoses of the Instant”, painting and plastic arts, “Art 36″ Art Gallery, Sofia (BG)

1997 “DURE” Art Gallery, Timishoara, Romania

1997 “Stalbata” Art Gallery, Sofia (BG)

1994 Painting, “Spectra” Art Gallery, Veliko Tarnovo; “Ilia Beshkov” Art Gallery, Pleven (BG)

1993 “Agora” Art Gallery, Reshitza, Romania

1993 Painting & Drawing, Art Museum, Kalafat, Romania

1992 Painting, “Nikola Petrov” Art Gallery, Vidin (BG)

1990 Painting & Drawing, Higher Institute of Architecture, Sofia (BG)

1990 “Version of Progress”, Kinetic installation, Higher Institute of Architecture, Sofia (BG)

 

 

 





THE LA ART SHOW 2013

31 01 2013

THE LOS ANGELES ART SHOW AS SEEN BY THE ART CHRONICLE

The LA Art Show was much expected by Artists and Collectors and Art lovers just the same. It was here and it is gone Iphone 420now. I was able to attend for a brief Saturday afternoon – and it was packed! I thought I was in some kind of futuristic Art version of Neiman Marcus … Not that Neiman was ever that packed with visitors. That was the curious part – apparently, the organizers did a wonderful job promoting it.

Most impressive part was the variety of Art and the presence of Chinese Artists and GalleriesLA ART (27). Among the American Galleries, who are always present at every show like ABBY TAYLOR GALLERY (Boston) and LUREI GALLERY (Los Angeles) just to name a couple – the presence of Chinese art galleries was strong both as number of galleries and quality of Art. The Chinese traditional mastery was possibly the most impressive – A wonderdful large-scale portrait of an elderly lady stayed with me long after I left the show. Daniele Sculpture Woman with w cigaretteImpeccable brushstroke - and emotion for detail. For the short time I was able to view the show  - one other thing made an impression on me – very little sculpture. Almost nonexistent. Could it be that this means a Sculpture Art Show is in the making for 2014?  Hmmm – Maybe next ART SHOW  will have a special section exclusively for sculpture – Contemporary and Traditional Figurative…. In any case – LURIE GALLERY had two California Artists, both dramatically different in their sculpture technique – Jon Krawzhyk - contemporary abstract medium, usually  large scale and Daniele Matalon - traditional figurative third to half-life size bronzes. Daniele Matalon’s “Petra” is exquisite, sensual in a contained kind of way, and masterful in its execution. Daniele Matalon is a Sculptor, who started her career in early 2000. ‘Petra’ reminds me of a sculptural version of an Var5gas and Olivia’s glamourous pin-ups. To view the show , for you is a brief video on the Art Chronicle YOUTUBE  channel ( click on the red text to activate the link).  See you soon!

 Yours Truly,

BIG SMILE

 

 

 

Tsvetana Yvanova,

for The Art Chronicle





WHY I SCULPTED THE PRESIDENT

22 09 2012

THE PRESIDENT’S PORTRAIT FINALLY IN BRONZE!!!

By Tsvetana Yvanova

The story behind this work is long. It started in the spring of 2010.

I was asked often – Why did you sculpt the President?
The main inspiration behind the President’s sculpture portrait are Mr. Obama’s character, individuality and intelligence.
As an Artist – for portraiture, I am attracted to subjects, who posses a unique blend of character features, which are seemingly unrelated, but in reality are deeply interconnected. Mr.Obama’s features are of such nature. His contained radiance, his charisma stems from his deep belief and his deep caring for all Americans, regardless of age, financial status and color. This universal quality comes from the depth of his desire to awake the passion of millions and sparkle a call to action to make a difference –this is what made him inspirational.

When a person with such global vision ignites an idea, which comes from this love and compassion for all people – people follow. He managed to begin restoring the world’s respect and admiration for America – so tarnished during the previous presidency.
The historical fact that Barack Obama is the first black President is indisputable. This fact has a significance within our country and outside its borders. With in the US – it gave hope to all who have given it up – outside the US – his election proved to the world that America has changed and all the
shadows of the dark past were just that – shadows.

On a personal level – I have discovered subtlety in Mr. Obama’s character qualities, which make him more powerful. His kindness, his calm and collected demeanor blends with the resilience and enhances remarkable strength that he possesses. Artistically, I am only interested in the character of a subject, so I can give the sculpture a personal presence . In the case of Mr. Obama – this was not an easy task, since I have never met him in person. When I finished it in clay, one viewer made a remark , I will never forget “ Oh my God – he is ready to talk?”. This gave me the assurance that maybe I have accomplished my goal

That evening it was also the first time anyone would view the President’s Portrait in bronze. For all who viewed it that night, I hope I have created and image of a remarkable man, whose personal presence inspires and at the same time makes us ask ourselves questions. One question comes to mind: How far are we willing to go to make the United States of America the greatest country in the world once again? Are we ready ? Can we do it? We all know the answer.

Yours Truly,

Tsvetana

For The ArChronicle





ALLURE OF ABSTRACTION

9 06 2012

WHAT ‘S IN AN ABSTRACT?

A few months ago I came across a handwritten note by a very good artist, in his eighties – who just happens to like  classical representational art. He not only did not like abstract painting – he disliked it. OK – many people do not like abstractions – but they have the wisdom to say -’ I don’t understand it’. What is the Artist trying to say?  That is a valid point. You must understand something before you appreciate it or pass an opinion. I personally struggled for a long time because I did not understand Christo. However –  after a few  videos, his  biographical book, and a few other books on his art – I came upon the ‘aha’ moment. I got it! And ever since  that moment a few years back –  I am trying to the best of my abilities to explain  his art to others – to the best of my understanding.  Back to  the old school Artist, who dislikes Abstract art.  So much so, that he had the audacity to cut out an Article form a newspaper, about a celebrated abstract artist Helen Frankenthaler, with a note  addressed to his fellow-artist buddy:  ‘ Hi  John! Here is another example of hoe talentless fraud is accepted as art  and equally kook-y critics!’”. I just happen to know ‘John’,  who knows I love abstract art and just lets me have the  cut outs… The point here is – it is so easy to  dismiss something one does not understand. And  for some – belittling and degrading something they simply cannot   grasp – comes even easier.

But WHY?

Why dismiss something that clearly has values to many – aesthetic value, poetic value,  even monetary value ….. That brings me to  enclosing some reprints from a a well known publication about my favorite  abstract artist – Gerhard Richter – named lately ” The Top Selling Living artist“:  by Wall Street Journal in an  article by Kelly Crow.

About Gerhard Richter’s unrivalled success Mr. Crow adds: “The artist’s ascent is being driven by market demands as much as curatorial merit: Auction houses and museums, eager for new masters to canonize, are showcasing Mr. Richter’s works around the world at an ever-increasing clip. An influx of international collectors and dealers are also seizing the moment to buy or sell his pieces at a profit—including art-world tastemakers such as Russian industrialist Roman Abramovich, French luxury-goods executive Bernard Arnault, dealer Larry Gagosian, Taiwanese ele
ctronics mogul Pierre Chen and New York hedge-fund manager Steven Cohen

Mr. Richter’s work is uniquely suited to the tastes of the current art market. Like Picasso, he paints in a number of different styles—from rainbow-hued abstracts to poignant family portraits—giving collectors plenty of choice. Like Warhol, he is prolific, which ensures a steady volume of his works in the marketplace—yet enough of his works are in museum collections that he has avoided a glut. And ever since the deaths last year of painters Cy Twombly and Lucian Freud, collectors searching for another senior statesman have started giving his work a closer look.

Collectors are paying a particular premium for Mr. Richter’s larger abstracts from the
late 1980s, which have all the visual impact of a work by Francis Bacon or Mr. Rothko, artists whose prices spiked before the recession. These abstracts are also immediately identifiable as being Mr. Richter’s creations, making them easy status symbols. San Francisco dealer Anthony Meier says, “Collectors want an iconic work in a format that everyone recognizes. Monkey see, monkey do”

As Terry Teachout points out in his article “ The Seductive Allure of Abst

raction” :

“Part of what makes this series so fascinating is that Mr. Diebenkorn, who died in 1993, waged a lifelong “battle” with abstraction. He started out as a gifted Abstract Expressionist painter. In 1955 he suddenly embraced representation, turning out dozens of figurative paintings that translate the language of Matisse into a wholly personal, semiabstract style. Then, in the Ocean Park series, he made a decisive return to total abstraction, in the process creating the most original works of his career.

“To chart Mr. Diebenkorn’s stylistic development is to be reminded of the near-overwhelming power of the idea of abstraction in the 20th century. It was even felt by artists who, like Pierre Bonnard and Fairfield Porter, never produced an abstract painting in their lives, but were nonetheless influenced by the way in which practitioners of abstraction created what Mr. Diebenkorn called “invented landscapes,” nonobjective images that evoked the world of tangible reality while steering clear of literal representation.”

“Just as Kandinsky turned his back on figuration, so did the atonal composers of the early 20th century, led by Arnold Schoenberg, abandon tonal harmony, the fundamental ordering principle on which all Western classical music had previously been based. In a tonal composition, harmonic movement is the “plot” that propels the listener through time. Schoenberg, by contrast, sought to express his inmost feelings in a raw, unmediated way instead of using large-scale tonal architecture to shape them into conventionally coherent structures. “One must express oneself! he told Kandinsky in 1911.Express oneself directly! Not one’s taste, or one’s upbringing, or one’s intelligence, knowledge or skill. Not all these acquired characteristics, but that which is inborn, instinctive.”

Whatever causes the Abstract Art to  be in the center of such controversies as despised by some and revered by others  – is certainly not going away. Abstract Art  is here to stay. For those of us – who love Abstract Art – and even paint abstract – this is the good news. For the ones, who have not grown to at least like it – I would say – “Get over it!  Spend more time trying to understand it and less time complaining and maybe you will figure out why abstract art is so timeless…’ For now, my Abstract lovers – let us enjoy Richter’s unlimited imagination, while he keeps being amazed at his  own success….

Yours truly,

 

 Tsvetana Yvanova

 for The Art Chronicle





TURNING DREAMS INTO BRONZE

6 06 2012

 PORTRAIT OF NICK

The story of this portrait is probably most unusual and has more depth  for  me than anyone else.  Our story started officially on June 3d. But it began a year before that. I have no intention of boring you with details of how I met Nick – but the truth is  it was   an accidental unexpected stroke of  simple destiny.  The suddenness, the beauty and the poetry of it -   will stay with me forever.  Instant bond.  He had this inexplicable capacity to bring the best in people.  Our connection ignited into a wonderful exchange of moments where we would literally finish each other’s thoughts.

On our first trip on Roamer III – he  invited me for lunch. Lunch was an hour away by water  from Marina Del Rey to Redondo Beach.  In  a warm California day in June, there is no better place to be than on water off the coast. The ocean  at this time of the year  is dark blue with playful ripples  as far as the eyes can see.  The coolness of the water, maintaining the steady 64 degrees Farenheit  offsets the summer heat. This extravagant gesture was meant to impress me – and that it did ! Magnificent ocean  views aside – on a purely intellectual level, I  always had a fascination of Motor Yachts  as well – their compact design, the aerodynamic grace, with which they are seeming gliding  on the surface, while reaching depths to preserve balance. The  inherent wisdom of their utility, where nothing must be in excess, except quality – the fine balance between necessities and  luxuries. The lack of space was complimented by high quality of craftsmanship and ingenuous design. Like a giant jewelry box  - everything in Roamer  III was well maintained, despite the fact that she was ready to be retired.

I was very new at Yachting – and fascinated immensely – being at awe of the ocean to begin with.  Roamer III was a lady. What a brave adventurer she was – a wanderer.  She could be tosses left and right – but always maintained balance.  (I believe it has a lot to do with technology on board.)  Roamer and I were quickly became best friends.  I loved the way the engine hummed away  – while gliding    through the surface of the water making its way towards the breakers.  I had to learn the terminology – ‘top deck’  ‘starboard’ and ‘port’  – and  at some point I even graduated to navigating it for an hour   in open ocean and was able to dock Roamer back into her slot, without wrecking it !

That particular day – it was a beautiful day in  June  9th  in early 2000  -  on top deck , on our way to Redondo Beach  - I observed him very carefully . It was sheer joy to see Nick navigate or dock his 75 foot ‘Princess’,  with focused and precise movements, that came  so naturally to him.  His profile was so distinctively British and hansome with the unruly long hair and bronzed skin. There was a remarkable unity between the color of his Celtic blue eyes and the color of the Pacific ocean at that moment. I    marveled the moment   -  while he watched me  be enthralled with the school of dolphins, that were  racing  the yacht.  I  wanted to remember this moment forever.  He  looked incredibly content in his reserved quiet kind of  way – given away only by the glimmer in his blue eyes!  I took some photos. This moment – the ocean, with all its blue power ,  the joy  of dancing dolphins,  Nick with  his boundless passion for yachting and me – all in one place  - will stay with me until my last day .

In the summer of 2005, I was getting ready for an art  show and I wanted to make a sculpture portrait of  Nick  as a surprise. The thought stayed with me for a long time. It always takes me a while before I make a decision to sculpt or paint someone close. In spring 2005 I finally started. I decided to  use water based clay, because it allowed me to work faster and achieve a more spontaneous effects.  His long unruly hair was a challenge – but it worked out well. Nick was   a  passionate Contemporary Art Collector with rather avant-guarde  taste and the portrait needed to reflect his persona and his visionary temperament.  There was something inspirational about him, that does not lend itself  to defining in words. I finished the piece on time and was able to cast it on time for the show.  As the show approached – I was  hoping Nick will come. He was out of town – in Cleveland, where he maintained a permanent residence – a place he loved very, very  much and where he spent a great deal of time.

The Art reception and opening were on July 9, 2005.  Attendance was fantastic –  Tony Michaels  piano virtuoso and Carol Chaikin  on trumpet  -  filled the air with  exquisite jazz improvisations;  everyone had a wonderful time. The next two days brought great  sales too.  Reception was at the Balboa Bay Club,  in Newport Beach. Nick did not come. He could not make it -  he sent someone else  instead  as an act of grace. He always used to do this. His impeccable  blue blood manners were his signature. After the show we talked  a  lot. A couple of weeks after the show we were planing to have dinner as soon as he returns from his short trip to London and Bordeaux, France. That was the last time we spoke.

He never  went to France.   Nor  to London that month. He never  even saw his portrait . Things developed with lightning speed. On August 19 – I received a call. Nick had undergone a six hour emergency operation, from which he did not wake up. It had happened the day before.

But the portrait,  remained  as a pure embodiment of that beautiful June afternoon, when  the stars  were aligned and the world was happy – Nick was happy – and I was extatic. He literally changed my perception of life. He brought out the best in me. That moment – I try to capture  in his subtle smile. His  head is tilted, looking down at the rotor handling  with absolute  precision  the   Read the rest of this entry »





ANGEL – THE PRISONER- ARTIST

6 03 2012

THE SAN CLEMENTE FREE SPIRIT

That January morning,  the 12th,  I accidentally caught on a TV clip about a prisoner, who  started painting in prison. San Clemente – if I am not mistaken. This man, of Mexican descent,  incarcerated for something he did in, was in  great pain and deep  remorse of his actions.  Pouring out his pain     -  and  his disappointment  from his own mistakes by drawing on the prison wall. In these brief few minutes, the presenter let him speak. He said, that when he draws and paints – he is at peace.e has time to think and look deeper in his soul. He kept drawing on the walls, with (permission of the guards) without  having any formal training. His enthusiasm was so contagious, that the other prisoners started supplying him with  whatever they can, so he can continue his work. Pencils, crayons.
It was admirable! Watching this human being, who fell  prey to circumstances and his  to  own temper perhaps, and entrapped himself – to elevate himself and rise from the ashes of self-destruction. He found a way to awaken a   talent , he did not know he had  – and found a noble  way to bypass anger and  channel  it into  a whole new level  of thinking.

Talk about the transformational quality   of Art!
It made me think  about imprisonment  of the spirit. Imprisonment of the spirit, that has nothing to do  with walls  – everything to do  with the limitations in our minds. Do we imprison our spirit when  we  surround ourselves with people, whose superficiality is  numbing ? Do we imprison our spirit when we distract ourselves with things that have no relevance to the world around us or within us? Do we imprison our minds when we squander valuable time and devote time to  exploring limiting belief systems, that impose on us ready-made values, impose on us how to think, how to react -to the point that we become a mere reflection , not a source?
Angel – the  imprisoned person with a   free spirit – made me think.
The power  of this unusual  uplifting of a human being still stays with me. The paintings were a pure expression of his pain. The mural was executed in mixed medium  – crayons, pencils and acrylics – whatever he finds.  (I presume there are no art shops in prison…. ). Not only does he lack the conventional environment of being an artist – not only is he lacking in mental stimulus of his environment  by virtue of a formal art education!  Yet the little glimmer of opportunity, time and space became his main motivator. After all – he does have the encouragement of the other prisoners and even of the prison guards, who gave him a permission to draw and paint. He needed permission to draw!!!!!

Think about it!
The sheer focus and determination he had! Many of us would try to achieve and sometimes it simply does not work. Could it be that the more freedom and  time we have – the less our desire to value it?

Could it be that the very presence of obstacles generates light and power beyond one’s expectations not only to overcome but  to excel?

Is it any wonder that some of the greatest creations of art have been created under impossible circumstances. Maybe the obstacles are simply  a spark plug that gets the desire to create in a  mode, that  overrides the trivial,  the unimportant and  the minutia?
Some of us create, because they love art and have spent time to develop their  skills and talents and want to share with the world. We simply breathe and live Art. Others create – because they have an obligation for a project or  a commission  or a gallery. Lucky ones! And then there are  many levels of creativity  between the highly skilled professional and the dilletante. But to create in the face of insurmountable obstacles  – is probably the highest form of Art.  What he lacks in  training – complements in inner desire to express  and  reflect the life-changing experience  his life.

Angel – the prisoner – artist , whose spirit  is anything but imprisoned. I was hoping I could find some  photograph of his work – but none was accessible. What I saw – was a complex composition, a large mural, depicting the events of his life, that lead him to this corner. So, I have no pictures  of Angel nor of his murals.  Just a deep impression from an accidental TV show about a prison and an incredible human being. And a deep admiration of the human spirit  and the  transformational power  of Art.

Stay inspired, my friends! Stay inspired, despite all odds! Stay inspired – no matter what!

Yours truly,

Tsvetana for TheArtChronicle

PS.The photo inset above is by Gerhard Richter.

And the Signature Image below is a Painting by this Author..





TONY CRAGG – ABSTRACT SCULPTOR

10 02 2012

One cannot not notice once in a while a giant  among us. A giant, that is the same height, same stature like everyone of us – only his  mind and his prolific resume make him a giant. Meet Tony Gragg. An unbelievably prolific sculptor – in a class of his own.

Tony Cragg was born in Liverpool, England in 1949. Internationally recognized as one of the leading abstract sculptors of his generation, Cragg has produced a highly influential body of work centered on the manipulation of shapes and surfaces as they relate to the human environment. Using such diverse materials as bronze, glass, and found objects, Cragg has created enigmatic works that meld bio-morphic shapes with otherworldly textures. In 1988, Tony Cragg was awarded the Turner Prize from the Tate Gallery, London, England. Tony Cragg has exhibited in museums throughout the world including The Corcoran Gallery of Art, Washington D.C.; The Contemporary Arts Museum, Houston, Texas; the Tate Gallery, London, England; Musee National d’Art Moderne – Centre Georges Pompidou, Paris, France; Wiener Secession, Vienna, Austria; and Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain.

London Art Award nomination Tony Cragg: ‘I’m not a religious person—I’m an absolute materialist—and for me material is exciting and ultimately sublime. When I’m involved in making sculpture, I’m looking for a system of belief or ethics in the material. I want that material to have a dynamic, to push and move and grow.’

The Telegraph: “His move away from assemblage towards a material freighted with art-historical baggage could well have made Cragg look antediluvian. But as a show at the Scottish National Gallery of Modern Art reveals, over the last 20 years Cragg not only faced the challenge but revelled in it, making bronzes that weigh many tons, and yet look as though they’d been freed from the laws of gravity and inertia, zigzagging giddily upwards, as vertiginous in their verticality as Brancusi’s Endless Column. In these amazing sculptures Cragg appears at times to be engaging in a private conversation with the great masters of early 20th-century sculpture.”

Cragg: “There is this idea that sculpture is static, or maybe even dead, but I feel absolutely contrary to that. I’m not a religious person—I’m an absolute materialist—and for me material is exciting and ultimately sublime. When I’m involved in making sculpture, I’m looking for a system of belief or ethics in the material. I want that material to have a dynamic, to push and move and grow.

“I also want that to happen over the course of making things, so that as soon as one generation of sculptures has gone up, another generation is coming on and things are growing up around me. That’s how it seems to work for me.”

The Liverpool-born visual artist is currently the director of Kunstakademie Düsseldorf, and has lived in Germany since 1977. He won the Turner prize in 1988, and for his services to art received a CBE in 2002. He also opened a sculpture park in Wuppertal, Germany. All his sculptures are handmade, and he is well-known for scorn of factory-made art; likening non-handmade works to relatives that one has never met.

 View Tiny Craggs work in a Waldfrieden Sculpture Partk in Germany

Tsvetana,

for the ArtChronicle








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