July 2 – July 5, 2015
I went to the party last night and survived. As a natural introvert, it goes against my nature to seek out large groups of people drinking alcohol and mingling. I’m more of a coffee in the morning kind of person but the weather forecast made the decision for me. If I wanted to see the artwork at the Wiede -Fabrik, I would need to head over while the heat was tolerable and my resolve strong.
Snaking along the street to find an available parking space, I squeezed my car into a small space and walked carefully back to the Wiede -Fabrik. Upon entering the first studio I was surprised to find:
I live in Munich and my lovely apartment filled with dogs does not make a suitable environment for sculptures or ceramics. As I wandered around Andrea’s sculptures, I was tempted by the birds to make the two work. The small sculptures start around 1k Euro and are birds carrying people on their backs – people who look like they are having an awesome time. On Facebook yesterday, Hazel Ang, a Munich Artist at large, shared this photo of an Eagle carrying a crow.
Walking into the studio and seeing all of the people on top of birds, this photograph flashed through my head. Unlike the photograph, which depicts an aggressive act by the smaller bird, the sculptures by Andrea Matheisen felt light and full of joy. This feeling is enforced by the outstretched hands and the whimsical interpretation of the fowl. Having visited the Kunst Kiesserei, I know how expensive it is to cast a sculpture in bronze and how much effort it takes to make this kind of artwork.
Andrea is a guest artist at the studio of Claudia Groegler and her Bronze sculptures filled the room with their presence. Luckily all the pieces displayed could fit inside a Munich Apartment. If you can’t make it to the Weide- Fabrik to see her work, her studio is located at Von-Erckert-Str. 30, 81827 and Andrea Matheisen’s website offers more examples of her work.
A few months ago, a big storm rolled through Munich killing many trees. During the cleanup, I gathered a bunch of broken branches for a sculpture. It looks like Peter Riss also found some branches that fascinated him. Peter Riss’s sculptures looked dipped in Resin and are fastened to the wall with braces. The two sculptures are not small space friendly. They are like Rose bushes that need space all to themselves. I didn’t talk with the artist so I don’t know what the motivation is behind the coloured pieces. If you are interested, stop by and chat with him this weekend and find out.
We love Simon Jame’s work and I was happy to see new pieces on the walls.
I forgot to take an overall shot of the river bed piece but you can see two detail shots of it below. Simon layers gesso on Canvas and Board to create his art pieces. On the river bed piece, Simon sanded the gesso until it loosened from the canvas but before it fell off. (Simon said the glue is strong enough to hold the gesso in place.)
As you know, I worry about how things will hold up. Will a digital print fade, will those pieces of sand stay on, can you combine those mediums to last more than a few years? Will this gesso chunk remain in place?
Simon said this piece is so heavy that he can barely lift it which means that it is moving away from a painting to more of a vertical sculpture. At this time, there is only one piece in his studio like this so bring a moving company if you decide you need to have it. Both of the closeup shots are close to the colours of the piece.
The first shot is a closeup of the cracks near the centre which have a darker brown top layer and the second shot is from an area where the top layer is more reddish brown. The piece really does look like a dried up river bed. Simon said the piece was originally purple before going brown. Try to find the purple when you look at the piece. I personally would love this piece with a black ebony on top or a reflective mirrored surface. Oh all the different ways he can go now that he has let the gesso let go of the canvas.
Angela has been working like a fiend on a series of prints using a new technique where she layers small screens created from her drawings. She takes these screens and combines them into these limited prints (I think there are three to each series.) The price range of this art work starts in the mid 300s and each print comes matted and framed. I really like this change in her work and I hope you have time to go see her new series in person.
Anja’s studio is tucked away in the back sort of like grandmother’s cottage in Little Red Ridinghood. Luckily there isn’t a big bad wolf inside. Walking into the space you are surrounded by her delicate paintings of animals, feather, fruit and other nature themed still life paintings and drawings.
Would the other artists be upset if I say Milan is the head honcho of the Weide Fabrik? Maybe. Milan’s studio is one of the first when you walk into the space and most of his work is large scale.
I do really like the painting at the entrance when you walk into the studio. I think it is the piece he worked on during the world cup exhibition? I’m not a big football fan but even I would hang this work in my house but not next to my Simon Jame’s piece. Maybe next to Jenny Schminke?
I love Oliver’s work. Everytime I go to the Wiede Fabrik I photograph it. I really like when artists let the raw canvas show itself. I’m not living in a make believe world where the art is not on a canvas. Art is art and I don’t mind being reminded of it. This trend is a nice contrast to photo realism. Maybe photo realists should add raw canvas to their repetoire. It would add a kick and be a bit of a shock for the eye maybe making the pieces more interesting for art historians.
Anyways, back to Oliver’s work.
My favourite of the three pieces on display is this image of two girls with their packages which are not quite baggage. Get it… the two girls are not filled with disappointments that they have to carry around. My words not Olivers. I may just be reading way too much into the composition.
I have no clue what Oliver was thinking about when he made this painting and right now I don’t care because I like my interpretation and I want to keep it. As I mentioned before, I’m finding this disconnect between my viewing an art piece and how the artist desired it to be interpreted disconcerting. I sometimes wish I had the ability to mind meld.
The Vernissage Obeservation
It was ok going to the party. I may even do this again if I can get there after the speeches. While mingling around Angela Smet’s studio, I met a lawyer and she made the following observation:
“Did you notice how many women there are?”
I looked around and she was right, we were swimming in women.
“If I were a man,” she said, “I would be chatting them up.”
I didn’t realise that this kind of event was a women thing. Up to this point, I avoided the vernissage openings of an exhibition/open studios because of my introverted personality but now I’m trying to be more proactive in getting photographs to share with you so that you can go see the artwork while it is on display which means I must leave my studio and go out and see the exhibitions/vernissage/studio openings and swim in a sea of women. Good lord, as a single straight woman, that is kind of a nightmare. I will keep you posted if this is a fact of vernissage life or if this was just an anomaly.
As I waited to say goodbye to Angela, a man in bicycle shorts and a helmet walked into her studio and immediately started asking questions about the prints on the wall. Angela showed him the price list and then he contemplated the prints some more honing in on a few of my favourites. A good sign for this new series by Angela who will be taking this body of work to Hamburg in November for the Affordable Art Fair.
I think that is enough for this post, don’t you think? If you want to go to the Weide- Fabrik, you can get their easily by bike, car or Sbahn. The address is Rambaldistrasse 27, 81929 Muenchen