As part of your joint show at Galerie Spektrum, we have an undercurrent of similarity as you were in the same family. Why should you would imagine that may be?
15 April, 2014 at 7:28 am in Buy & Sell
As part of your joint show at Galerie Spektrum, we have an undercurrent of similarity as you were in the same family. Why should you would imagine that may be? Attai Chen: This is a good Pandora Compatible Crystal Beads question. I'm the same way. I am able to say we both are in Munich and were students of Otto Künzli. For my first couple of years on the academy, Doris was the assistant tutor of Otto. In a way, we are available on the same family. I suppose that, on some amount of our subconscious, in the “Munich style,” there is an undefined similarity we all share. Doris Betz: Being a member of this Pandora Compatible Dangle Charms “family,” I can’t start to see the obvious similarity, that will be usual for members of the family generally. Attai i talked about possible common grounds before we installed the exhibition. There exists a certain curiosity about everything that grows, inside the observation of nature, and the power of life. I'd personally say Pandora Compatible Charms we have a solid inner should express inside ourselves an uncontrolled, unplanned way. Plus, I view the desiring directness. Attai ChenHow important is drawing for a work? Attai Chen: It is very important. This kind of series is done away from drawings. They're my raw material. First, I prepare the cardboard that has a layer of white paint, after which it I draw onto it. Sometimes I draw sketches for my components of various images and thoughts that attract my attention. Knowing that I will chop up these drawings later gives me total freedom to draw without planning and to be spontaneous. I cut the drawings into small fragments and start to create three-dimensional jewelry forms. I do not mean to translate my sketches into 3D form. Rather, I attempt to capture something in the feel, flow, and composition of the drawing. Doris BetzDoris Betz: At school I learned that firstly you come with an idea, then you make a good drawing, and you work against each other in the adequate material. Once i review now, I see I'd been working away at overcoming this dogma! Around my first numerous study, my drawings became a lot more free. Sometimes I drew blindly. I tried to get the energy of emotions to the drawings. I came across the queue, i experienced freedom inside it. My next steps were to analyze what went down around the paper and transform the drawings into three-dimensional objects as precisely as it can be without loosing the spontaneity and drive. Subsequently, I’ve created a number of different series. Hostaglas (an exclusive form of plastic), shells and beads (after my first live in Australia), fimo, silver and lacquer, and now otherwise beads and growth. I don’t use drawings anymore, almost none, but I still use my exposure to drawing. I’ve learned to use material as freely much like pencil and paper. It’s my special strategy for liberating myself.