The production, progression and development of my work cycles can be compared to Platon’s wording of Heraklit’s teaching about flux and the ever-present change in this world: “Everything changes and nothing remains still; there is only eternal evolution and change.”
Since art is not final, but rather just a snapshot of reality, a work cycle is seldom seen as complete and finished.
Following the thematic pattern – everything flows – there are no drafts, but only loose pre-arrangements of modules that are placed on a surface made of Chinese rice paper which are later used for printing.
In the lower third of the painting, the motive “flows” seemingly from left to right without any beginning or end. The upper and lower end of the painting leaves open spaces for contemplation.
My choice of long formats reflects a fascination for Chinese scroll paintings which was sparked during a stay in China in 2007.
Letting things run their course! Enjoying the appeal of decay!
Understanding change as a chance! Giving room to imperfection and incompleteness!
Independent of one’s technical orientation – collage, monotype, or a combination of both – objects that are close to dematerialization will be placed in a completely new context and thereby elevated to a higher level.
This form of appreciation which I show these used, worn, battered objects is in harmony with the aesthetic-philosophical orientation “wabi-sabi”, which is a attitude of mind that evolved from Zen-Buddhism.
The robustness of sisal, linen, cardboard, and corrugated board lose themselves in an almost not imaginable lightness when these materials are used as printing blocks.
This 100-part cycle – the essence of approximately 260 monotypes – was created in 2015 during the work on my catalogue “annhoff Wandlungen / annhoff changes“ (ISBN 978-3-936406-47-4).
Every monotype has a print area of 18 x 24 cm on a paper format of 46 x 24 cm. They are folded like a small letter and included in the catalogue as an original.
Inspired by the globally operating biologist Patrick Blanc who fashions facades with plants, I was looking for an artistic answer.
Plants in a vertical arrangement create a unique atmosphere. They widen our horizon and change our perspective. The current trend of finding “hanging gardens” in urban areas generates optical appeal and serves climate protection.
They rule our existence!
Application, submission, processing, approval, refusal, … bureaucratic processes … wearingly, exhausting, physically burdensome, partly even seemingly Kafka-like.
Development opportunities, career pathways and personal destinies are influenced by them either positively or negatively.
An open field for an artistic search of traces.
Mixed Media – the popular technology.
These collages are about more than just the beauty of architectural decay processes.
Next to dilapidated facades luxurious staircases can be seen as an indication of contrasting housing conditions, especially impressive in the circular picture “how to get up there”.
Architectural elements are complemented by cut-out pieces of accounting charts. Columns for name, place, object as well as debit and credit evoke the impression that everything is thoroughly noted and calculated. The basic human need of housing is simply labelled as a sober affair.
By means of provocative – but also aesthetic – imagery I clearly position myself against environmental destruction and marine pollution as well as the disregard of human rights. In order to preserve our livelihood and our system of values, I wish for a radical reorientation under ethical and ecological aspects. This also includes freedom of art, freedom of opinion and freedom of the press, which unfortunately are often suppressed for political and economic reasons.
I would like to encourage people to confront the dangers posed by global warming, inhumane working and living conditions, risk technologies, the death of trees, deforestation, slash-and-burn agriculture and global “littering”.
Fracking and CCS (Carbon Capture and Storage)
By using provocative – but also aesthetic – imagery I position myself clearly against the ongoing destruction of the environment and the usage of risk technology. In this sense, I see an ethically and ecologically oriented energy production as essential.
I want to initiate thought processes that lead to a confrontation with the dangers for humans and the environment which are caused by lignite plants, CCS (Carbon Capture and Storage), fracking and nuclear power.
To report critically on topics concerning society and the environment, there is a need for artistic freedom, press freedom and freedom of speech. Unfortunately, those are too often being hindered by political and economic interests.
Architectural structures – homage to my bricks!
Corrugated board – my trademark – symbolically stands for lifelines and intersections, debris and glimmers of hope, stages of life with highs and lows.
Compositions of different corrugated boards, handmade paper, linen and cotton fabrics as well as paper wrapped wires are characteristic of my collages.
To individualize and differentiate the structure of the used materials I prefer chalk, crayons or graphite pencils as well as pigments dissolved in egg tempera, oil and acrylic.
By using these materials, form and colour structures compress themselves into imaginary landscapes and spatial elements. The layering of materials leads to relief-like installations.
It is the change of perspective that fascinates me.
With the play on words “stone + boxes” I not only want to integrate my preference for weathered bricks, but also give a hint about my work materials.
BrickBoxes emerge from the coating of boxes with diverse and different types of paper, cardboard, and cloth as well as painterly and graphical accentuation. Associations of theatre backdrops and building complexes become apparent, especially when BrickBoxes turn into installations.
All dimensiones in centimeter