artwork umhüllt (weiß) by Isabel Ritter

Artwork: umhüllt (weiß)by Isabel Ritter

Skulptur, 95*17 *45 cm figurativ
4600

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About the Artwork

The work is carved from a whole piece of Swiss pine. Dr. Peter Kohlhaas (Gallery 1214) writes about this series of works: " A figure strides. She marks the space around her. A garment envelops her, which fits her tightly. It leaves room for legs and feet to take a normal step. The implied robe wraps and covers her figure. While the legs are clearly visible under the wrapping, the arms are invisible. The history of the statue knows famous models,_ such as Rodin's L'homme qui marche (Striding Man), which for Rainer Maria Rilke in his Rodin Study (1902) becomes the prototype of a history of gesture, an artistic voyage of discovery. The task of art, according to Rilke, is not to document a factual completeness. It does not follow the "petty pedantry which says that arms belong to the body". Rather, the wholeness of a sculpture shows itself in the "necessity" of the composition, which can ultimately be understood as the conclusiveness of the sculptural concept. Ritter, unlike Rodin, does not show a naked torso, but a female figure in a simultaneously compact and flowing envelope. While Ritter only hints at its contours, she sets conscious points of identification with the facial features and the barely suggested hairstyle. The envelope, as well as the careful painting, which by no means unconsciously borrows from the pointed coloration of antique sculptures, is almost the actual event in many of Ritter's works, and also the source of the focus, the collection, which the figures radiate. An energetic contrast is created between the compactness of the shell and the implied gestures, a tension that is further vitalized in the individualizing colored setting (e.g., dark pupils with white dot)."

About the Artist

For the bodies of her sculpture series "wrapped" Isabel Ritter uses a "hollow iron" when working the wood (contrary to its original purpose of removing as much wood as possible at an early stage of the work) she uses the hollow shape of the iron for the conclusion of the work in order to create linear structures and ridge lines in a drawing-like manner, which on the one hand circumscribe the volume of the resulting form and at the same time "visually contract" it. Through this surface structure, the bodies experience an abstraction. But also in terms of content, for example, a "blue feather body" (see "Close to Nature #1") can undergo a transformation into hybrid human-animal beings and thus expand thematically. In contrast to this are the finely worked out faces which serve as fixed points for the recipients and only through the combination of the formally and/or contentwise opposing bodies sculptures with great aesthetic tension and freedom arise.

BEKANNT AUS

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