The subject matter of this entwined sculpture, made from a single larch trunk, was “nature in motion”.
By burning and waxing it, I gave the wood a black color before combining it with pieces of cut skis. In these ski boards, I carved images of Austrian glaciers.
This sculpture can be seen until September 2017 as part of an exhibition on a mountain in Fiss, Tirol in Austria.
„Orange Flow” is a metal sculpture I began work on at a symposium for sculptors at Lake Zurich, Switzerland.
It was inspired by a segment of a cartographic depiction of Lake Zurich.
Hammer blow by hammer blow, every single piece was formed individually and now tells of love, friendship, happiness, encounters, and partings.
Flow – the flow of life and mental state of complete immersion.
The sculpture is currently coated in International Orange, a highly effective anti-corrosion paint, which was also used for the Golden Gate Bridge.
Depending on the location of the sculpture, the color can be changed by request.
With women often being under-represented at symposiums, Jacky Orler decided to organize the first symposium for women sculptors in Glarnerland, Switzerland in 2015.
We all worked on the set subject matter: “Flora and fauna of the mountain world”.
Switzerland is the home of 30 different bat species, many of whom are endangered. On my first evening there, I encountered one of those bats.
This sculpture was created in 2015 during the international sculptor symposium in Rinkobing, Denmark, where it is now on public display.
Catchphrases like adaptation, assimilation and accommodation, differentiation and abstraction inspired the concept of a hollowed-out wood sculpture.
In my work, I often deal with personal space and environment, cover and cocoon.
With this work, my intention was to reduce a big, heavy larch trunk to a delicate shell, the skin of the tree so to speak.
By burning and waxing it, I gave the wood surface a singular texture.
The openings in the shell connect personal space and environment and provide a specific view of the beautiful scenery of the Glarnerland.
On the day of the art opening, I squeezed myself into the tree shell and was trapped in my work of art for an hour before I finally discovered the right way out.
On what used to be a demolition site and is now a place for experiencing nature and art, I formed this rising sculpture out of a one-ton heavy oak fork. The
sculpture stands out against its environment and yet resonates with it.
The dualism of things as well as the entanglements of interpersonal relationships are key subjects of this work.
There is no You without I, no We without Us.
The installation „Adam and Eve and the forbidden fruits” was created as part of Holzart XVIII, an international symposium for sculptors in Kronach, Germany.
The painter Lucas Cranach the Elder was born in Kronach in 1472. His many depictions of Adam and Eve served as inspiration for this work.
From July until October 2014, this installation could be viewed at Fortress Rosenberg in Kronach.
When I watched them on TV, I was fascinated by Timbersports and chainsaw sculpture competitions, so typical for the US.
Eventually, on a cold, grey winter day in Vienna, I decided to apply for a spot at the US Open Chainsaw Sculpture Championship and was in fact invited to compete as the only woman with nine men. A challenge for which I bought my first gas chainsaw a month before.
The subject matter of the competition was “wildlife”. But instead of carving a grizzly or eagle, I decided to turn my attention to endangered species in the US: In 2013, the polar bear was added to the list of endangered animals as were some crocodile species, the caiman and the piping plover, a bird species native to America.
The rules of the competition were strict: We had 23 working hours within three and a half days at our disposal, and chainsaw and angle grinder were the only admissible tools.
The chainsaw competition at Duck Creek was the warm-up exercise for the US Open.
The subject matter was “American Natives”, which is often expressed through Indian heads, eagles, bears, turtles, and wolves. I decided, though,
to interpret the subject more freely.
In 21 hours, I developed a colorful bench whose basic forms imitate segments of old Indian patterns.
To the astonishment of the audience, I created an abstract form and painted it in bold colors.
For the exhibition “Family Affairs“ at Castle Mistelbach, Austria, I created the object “Atzel”. The object comes with a push fit system which allows for various ways of usage. It can be
converted into a bench, table, swing, or even a coffin.
A lifelong piece of furniture that can change form from one heir to the next.
The work process was documented on film by the artist Muzak and combined with old super-8-footage of my father. The resulting combined sequences were then incorporated in a film by Muzak in the shape of short commercials, which interrupted his film every now and then.
„With metal cocoons and wood work, Sabine Capek and Katharina Mörth create a bizarre atmosphere in a derelict pit.” This is how Jens Rönau quite aptly described our collaborative work, designed
specifically for “Nordart”, in the art magazine “Kunstforum International (2005/179) in 2005.
The former iron foundry was a challenging site to work with.
My goal was to integrate my metal sculptures into this dominant environment and create a bizarre atmosphere.
The subject matter of the works, which were arranged in context to their environment as well as to each other, was need for protection, regeneration,
and transformation and was meant to give this building in decay a new character.
For this cocoon, I welded together old cast-iron gas grates.
The cocoon was placed in the former tram depot Stammersdorf, which has been reclaimed by nature. As a performance, I put myself into this object made of industrial waste and broke free from it.
The subject matter of this work was man in context to his environment and the question: What is private and what is public space? Where does the individual stand in relation to society and the global over-industrialization.
„In my world view, there is a vast outer region as well as a vast inner region, and man stands between the two turning to one or the other and, according to his temperament and disposition,
considering one or the other the absolute truth and thus denying or sacrificing one for the other”. (Carl Gustav Jung)
This idea inspired the creation of “cocoons”. In many cultures, the chrysalis serves as a symbol for transformation, a metaphor for a vulnerable, solitary state of being on the cusp of a new stage of maturity.
My intention was to give the human cocoon its own shape. Modelled on photographs of a cloaked individual,
I created a series of closed sculptures made of sheet steel.
I wanted, though, to break through these closed, impermeable shapes.
The openings show that a rigid shell is not necessarily a restrictive carapace one can hardly “hatch out” from.
Instead, they connect the individual enclosed in their shell with their environment.
This connection allows an exchange between inner region and outer region and at the same time poses the question whether a true symbiosis between self
and environment is possible at all.