“I feel the greatest respect for the millions of years it took to the stone I am forming. Either I follow an inner picture, or a stone is calling me and I try to work out its hidden shape. A stone, polished or rough, should provide joy for the eye and the sense of touch.” the Berlin sculptor Sonja Bojko says.
Brunolupo’s artistic interest lies in the plastic confrontation with the human body: the head, and the view inside and outside. He sees man as an inseparable part of nature and addresses relationships, coexistences, un-relationships, and the emptiness and fullness of co-habitation. Brunolupo works often with clay, sometimes to create works of overt social criticism. He transforms clay into figures, landscapes, and minds, a sort of figurative expressionism. His works are ambiguous and subtle, often disturbing, and eternally interesting. Many of his works are reminiscent of porcelain, crystal, or watercolors. Up close, the figures’ bodies are comprised of rugged mountains and vegetation, and each figure is unique in its own handwriting. His ceramic works combine the lightness of watercolor with the seriousness of sculpture. He aggravates the clay to push material to its limits. His white sculptures reflect the light like crystals, but show the fears and worries of our imperfect world. Though superficially nice, they reveal evil political and human truths. The figures are meant to be viewed from eye level. Occasionally, Brunolupo also works in concrete, wood, PET, aluminum, and paint. He has created critical urban landscapes in abstract relief, lightweight concrete and asphalt objects, and consumer garbage pies.
“Brunolupo’s sculptures are fascinating because of their particular ambiguous mood, reinforced by the “eyeless” embodiment of the artist’s head models, which are presented alone or in multiples. Without eyes, the figures remain to some extent anonymous, despite their physiognomic differences. Notches and gaps create the impression that their inner life is visible to the outer world. The artist combines vast quantities of heads in close proximity, evoking at once community and confinement. Some faces form a tower, or a tightly arranged relief that stretches over a wall. A dynamic, emotional spectacle lies on the surface of the figures faces: their ivory-like glaze creates a shimmer that evokes wild vegetation or rugged mountains. They are ragged and broken and testify to the physically intense work process Brunolupo uses, shaping the clay with heavy beech slats and blocks. The material’s properties and texture play an important role for the artist: Brunolupo speaks of “material-appropriate working without the use of sealant” (“materialgerechtem Arbeiten ohne das Verwenden von Kitt”). The artist begins without sketches, drawing from random shapes for inspiration. He brings great precision and concentration to the figures’ individual details, focusing on the mouth, lips, and hair to simulate the impression of invulnerable skin.” –Alexandra von Gersdorff-Bultmann, Galerie ART CRU Berlin
Each artwork of Tatawa is a journal entry where outer influences are purged and inner responses are confessed. Like making soup, materials are thrown onto the canvas and mixed together through spontaneous gesture. Often a period of mindless doodling is carried out before the painting emerges with an unexpected coherence. Influences of sight and sound are exposed: the colour of a coffee mug, the shape of a distant hill, the meow of a cat, the piano playing next door. The process of improvisation allows each layer of influence to be shredded until the limitation of habit is revealed. This limitation is then challenged so that each painting is a set of broken habits. Tatawa’s commitment to authenticity results in an inconsistency in style. Each day a new character emerges and the old one disappears like shredding skin. The only constant is the desire to truthfully express the fluctuation of current states.
Clay I (2017), Mixed media on canvas, 80 x 60 cm, 1230€
Inside a Child’s Stomach II (2017), Mixed media on canvas, 80 x 80 cm, 1560€
Inside a Child’s Stomach I (2017), Mixed media on canvas, 80 x 80 cm, 1560€
Garbage Collector (2017), Mixed media on canvas, 80 x 80 cm, 1560€
Edible Stains II (2017), Mixed media on canvas, 80 x 100 cm, 1900€
The Storeroom Had a Stomach Flu (2018), Mixed media on canvas, 100 x 120 cm, 2350€
Look for Me on That Mountain (2017), Mixed media on canvas, 80 x 100 cm, 1900€
Things I Found Inside the Sofa (2018), Mixed media on canvas, 100 x 120 cm, 2350€
Muscle and Bone Series (2017), UnFired clay, various sizes, 80€ each
Objects from Mauerpark I (2017), Found objects on panel, 15 x 15 x 4 cm, 250€
Objects from Mauerpark II (2017), Found objects on panel, 18 x 24 x 4 cm, 350€
Objects from Mauerpark III (2017), Found objects on panel, 18 x 24 x 4 cm, 350€
… is a new brand of designer furniture founded by Robert Dvořák & Lukáš Walter. It was born out of a need, the need to return nobility to forlorn furniture, to give its forgotten soul a new body, to revitalise it in a different context and in a modern form. Lukas & Robertson combine traditional techniques with classical and modern materials. They can be conventional or revolutionary but the result is always a unique item of furniture, a one‐of‐a‐kind. With an emphasis on originality and detail, they use only the highest quality materials and fine craftsmanship. All our products are designed by the Lukas & Robertson and created in their workshop. The aim of the company is to give quality, old furniture the chance to return to our interiors and reclaim its role as a dignified companion in our lives. Besides their own free work, the designer duo also creates bespoke pieces. The clients bring them old pieces of furniture and give them either some directions, or a free hand to prepare a proposal for its revival. Whether it’s a chair, a table, chest of drawers or cupboard, Lukas & Robertson find a solution where the clients’ ideas and their vision meet to join the piece’s original soul with a new body.
“With a high level of social skills, Uwe Schwarz applies and experiments with different pictorial expressions to voice his criticism of civilization. His metaphoric and symbolic, sarcastic and subtle artistic work is objecting the human conceitedness, emotional numbness and the repellent indifference that goes with selfishness and even has a destructive effect. He likes to delve into the treasure chest of the history of civilization, to work with superimposition and collages, photographs and existing media products to make the viewer look in the mirror, over and over again” …Karin Weber, art historian
Concept Gallery
Gartenstr. 114, 10115 Berlin-Mitte
Opening times: by appointment and serendipity: 01797507939
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