Suchergebnisse

Sabine Pierick: 1323 · Title: · Dimensions: 150 x 150 cm · Material: Real copper disc on various granulated hard coal · Year: 2015 Sabine Pierick: 1323 · Title: · Dimensions: 150 x 150 cm · Material: Real copper disc on various granulated hard coal · Year: 2015 Description: Within a clear geometric basic form - the circle - Sabine Pierick develops a complex material composition that can be situated in the tradition of material and surface art. In its experimental treatment of materials, the work is reminiscent of the works of Antoni Tàpies or Alberto Burri, who also worked with the transformation of materials and their surfaces. The circular copper plate serves as a support for a multi-layered surface structure. Through the use of different grain sizes of coal, various textures and reliefs emerge. The natural oxidation of the copper creates additional color nuances ranging from reddish-brown to green tones, reminiscent of the color experiments of Art Informel. The distribution of materials does not follow any strict geometric pattern, but rather develops its own organic formal language within the strict circular boundary. This creates an interesting tension between the geometric basic form and the free material design - a design principle that can also be found in minimalist art. Particularly noteworthy is the analogy to works of Arte Povera, with representatives like Jannis Kounellis. However, Pierick transforms this material aesthetic into a contemporary formal language, characterized by the precise elaboration of surface structures. The composition shows a balanced equilibrium between controlled artistic interventions and the natural processes of material transformation. This working method stands in the tradition of controlled chance, as can also be found in the works of Hans Arp or the material pictures of Emil Schumacher. Back

Sabine Pierick: SEASONAL HAPPINESS · Title: Autumn · Dimensions: 150 x 150 cm · Material: Real copper disc on various granulated hard coal · Year: 2023 Sabine Pierick: SEASONAL HAPPINESS · Title: Autumn · Dimensions: 150 x 150 cm · Material: Real copper disc on various granulated hard coal · Year: 2023 Sabine Pierick: SEASONAL HAPPINESS · Title: Autumn · Dimensions: 150 x 150 cm · Material: Real copper disc on various granulated hard coal · Year: 2023 Sabine Pierick: SEASONAL HAPPINESS · Title: Autumn · Dimensions: 150 x 150 cm · Material: Real copper disc on various granulated hard coal · Year: 2023 Beschreibung: Vier kupferne Kreise als Quadriga des Jahreszeitenglücks von einem Meter Durchmesser, an mythologische Erdscheiben erinnernd, haben entsprechend der vier Jahreszeitenquartale jeweils für eine Jahreszeit lang in Wiese und Feld den gesamten Zyklus der Natur durchlaufen. In der Hitze des Sommers annähernd verglüht, unter Regengeprassel korrodiert, von Wind und Wetter deutlich gebeult, mit kristallinem Schneegestöber zauberhaft bekrustet, vom Sturm wie Schilde ins Erdreich geschleudert, allesamt von Sonne, Mond und Sternen lächelnd beschienen. Als liebevoll den Naturkräften „Ausgesetzte“ hatten die Pierickschen Jahreszeitenscheiben jeweils saisonal Zeit, um den Reichtum der Erde im Akt der Begegnung von Zeit, Raum und Materie auf jede einzelne Kupferplatte als facettenreiches Spektrum zu bannen und uns als archaische Kostbarbeit zu spiegeln. Sabine Piericks "Jahreszeitenglück" präsentiert sich als ein vielschichtiges, prozessorientiertes Kunstprojekt, das die traditionellen Grenzen zwischen künstlerischer Intention, natürlichen Prozessen und temporaler Dimension transzendiert. Das Werk von vier Kupferscheiben, die jeweils eine Jahreszeit verkörpern, offenbart eine konzeptuelle Tiefe, die über die rein visuelle Ästhetik hinausreicht. Back

Sabine Pierick: 117-2 · Title: Junction · Dimensions: 150 x 120 cm · Material: Real copper on various granulated coal · Year: 2018 Description: This work presents itself as a complex composition on real copper, structured by a network of precisely drawn lines. The geometric abstraction is reminiscent of constructivist traditions, particularly the works of Piet Mondrian and the Russian Constructivists, but is here transferred into a contemporary context through the material presence of the copper. The black lines that run across the warm copper surface create a dynamic tension between order and chance. On the one hand, these lines appear mathematically precise, but as a whole they develop an almost organic quality that is reminiscent of urban structures or cartographic records. The material dialectic is particularly remarkable: the real copper with its characteristic coloring and surface structure forms a living background that enters into an active dialogue with the applied lines through its natural patina and reflective properties. The choice of material refers to industrial processes and traditional craftsmanship at the same time. Back

Sabine Pierick: Elementary ·Title: 118/17 ·Dimensions: 150 x 150 cm ·Material: Real copper disc with copper threads on granulated coal ·Year: 2024 Description: This fascinating installation uniquely combines science, global politics and aesthetic sophistication. 118 precisely arranged copper threads corresponding to the elements of the periodic table are interwoven with 17 concentric circles - a subtle nod to the UN Sustainable Development Goals. The mathematical precision of the work, with references to pi and the circumference of the earth, as well as the symbolic excess length of the threads, which refers to the 196 recognized states of the world, make this piece an intellectual and visual experience. Sabine Pierick's installation "ELEMENTARY: 118/17" can be placed in the context of conceptual environmental art, which has gained increasing importance since the 1960s. The work is characterized by its complex symbolism and the fusion of scientific, political and aesthetic elements. The use of 118 copper threads, which correspond to the elements of the periodic table, refers to the fundamental structure of matter and thus connects the work of art with the natural sciences, and is also in the tradition of contemporary artists such as Tomás Saraceno or Olafur Eliasson, who integrate scientific concepts into their works. The 17 concentric circles, which represent the UN sustainability goals, give the work an explicitly political dimension. Pierick thus addresses current global challenges and positions her work in the discourse on sustainability and global responsibility. This approach is reminiscent of the tradition of political art, as represented by Joseph Beuys, for example, with his expanded concept of art. The mathematical precision in the conception of the work - with the reference to Pi and the circumference of the earth as well as the extra length of the threads as a reference to the 196 recognized states - shows Pierick's interest in the connection between art, mathematics and geopolitics. This linking of different fields of knowledge in one work of art is reminiscent of conceptual approaches such as those of Sol LeWitt or Hanne Darboven. From a formal perspective, the work "ELEMENTARY: 118/17" is in the tradition of minimalist and geometric abstraction. The circular composition and the use of copper as a material are reminiscent of works by artists such as Donald Judd or Carl Andre, who used industrial materials in art. At the same time, Pierick transcends pure formalism by charging it with symbolic meanings. The choice of copper as a material is both aesthetically and conceptually significant. Copper, a conductive metal, could be interpreted here as a symbol of connection and interconnectedness - in keeping with the global issues that the work addresses. In addition, the warm color of the copper subtly refers to global warming, a central theme of the Anthropocene. In the broader context of contemporary art, Pierick's work can be placed within the growing movement of ecologically engaged art. Artists such as Hans Haacke, Agnes Denes or, more contemporary, Olafur Eliasson have taken up similar themes, albeit with different approaches. Pierick's work is characterized by his ability to express complex global issues in an aesthetically pleasing and intellectually challenging way. It exemplifies art that is not only visually effective, but can also act as a catalyst for discussions on pressing global issues. In summary, "ELEMENTARY: 118/17 represents a significant example of the fusion of aesthetic form, scientific precision and political engagement in contemporary art. It challenges the viewer to reflect on the complex relationships between science, politics and the environment, thereby positioning itself at the intersection of art, activism and research. Pierick's work is characterized by his ability to express complex global issues in an aesthetically pleasing and intellectually challenging way. It exemplifies art that is not only visually effective, but can also act as a catalyst for discussions on pressing global issues. In summary, "ELEMENTARY: 118/17 represents a significant example of the fusion of aesthetic form, scientific precision and political engagement in contemporary art. It challenges the viewer to reflect on the complex relationships between science, politics and the environment, thereby positioning itself at the intersection of art, activism and research. Back

Sabine Pierick: Pure Varity / Sortenrein · Title: Sortenrein 3 · Dimensions: 150 x 150 cm · Material: Copper sheet, oxidized, on variously granulated coal Year: 2023 Description: Overall, Pierick's work in the "Sortenrein" series is presented in a reduced, abstract visual language that leaves the viewer plenty of room for their own associations and interpretations. Her works convey a calm, meditative quality that invites the viewer to linger and reflect. Pierick's artistic approach in the "Sortenrein" series can be classified in the tradition of abstract, contemplative art, as found in artists of color field painting or minimalism. Her works are therefore in line with an art that is less concerned with conveying narrative content, but rather relies on the sensual effect of color, form and composition to put the viewer into a meditative state. Back

Sabine Pierick: 0915-01 · Title: Transformation · Dimensions: 160 x 210 cm · Material: Real copper on various granulated coal · Year: 2015 Description: The large-format material image presents itself as a powerful composition that impresses with the dramatic contrast between the deep black, graduated coal and the luminous real copper elements. The vertical arrangement of two mirrored, flame-like copper shapes, separated by a narrow gap, evokes associations with Lucio Fontana's groundbreaking "Concetto Spaziale" works of the 1950s and 60s. In the context of contemporary material art, the work positions itself at the interface of various discourses: It reflects questions about resources and their cultural significance, addresses the relationship between nature and industrial transformation, and, through its contemplative quality, opens up a space for existential reflections. Pierick's work is in the tradition of material and process art, but develops an independent position in contemporary art through the specific use of industrial materials and its reduced, almost mystical formal language. The work combines material presence with spiritual transcendence, creating a multi-layered meditation on time, transformation and the relationship between man and material. Back

Sabine Pierick: · Title: CO2 - Z · Dimensions: 150 x 150 cm (2 parts) · Material: ·Copper pipe on iridescent petrol background · Year: 2024 Description: "CO2-Z" is more than just an artwork – it is a statement, a fusion of aesthetic innovation and burning topicality. The centerpiece of the installation is a fascinating wall object made of handcrafted copper on canvas. The deep, meditative luminescent petroleum is traversed by precisely placed copper lines that culminate in a central ring - a visual metaphor for our planet's carbon cycle. The materials used - copper, coal, and water - are carefully chosen to reflect the complexity of the climate debate. Pierick's innovative technique transforms a 15-meter-long copper pipe into a delicate structure that simultaneously unites industrial precision and organic shaping. The installation is complemented by an amorphous floor component that can be adapted to different exhibition spaces, thus offering flexibility for various contexts. "CO2-Z" is not just an aesthetic eye-catcher, but also a work of high conceptual depth. It addresses one of the most pressing issues of our time - climate change - in a manner that is both intellectually stimulating and visually impressive. In this fusion of aesthetic refinement and ecological engagement, Pierick's work aligns itself with the tradition of conceptual and environmental art. She creates a dialogue between industrial precision and natural unpredictability, challenging the viewer to reflect on the complex interconnections between human actions and global environmental changes. "CO2-Z" promises to be a conversation piece of enduring value that redefines the boundaries between art, science, and ecological consciousness. One can be pessimistic if one looks at the possible end. Sabine Pierick explores the flourishing certificate trade in an artistically ruthless way as a doomsday scenario, already down to earth. Anyone who does not pull the lever ends up in a dripping, tarry puddle of lifelessness. Her frighteningly clear formula is greenwashing = doomdating. The impetus is clear: anyone who rids themselves of their responsibility not only risks, but is responsible for the decline of our planet into irreversible rigidity. When Robert Smithson placed his legendary 1500-meter-long earthwork "Spiral Jetty" at the edge of a salt lake in Utah in 1970, he combined the formally highly energetic landmark of black basalt stones with a deeply spiritual force tied to geology. Today, his land art icon, which remained invisible for decades due to flooding, lies dormant once again in the desolation of the salt flats. Inevitably, one senses the connection of the spiral-shaped symbols through the centuries. Topic: Water Risk. Fifty-four years after Smithson, Sabine Pierick lays down her 15-meter-long copper spiral installation like a universal memorial directly on planetary ground, instantly mapping humanity's realm of responsibility on a global scale. Is it still an oasis, or already on the way to becoming a wasteland? The CO2-Z spiral challenges the mind to focus while relentlessly expanding perception to take personal responsibility. When everything is at stake, the symbols must be compelling—especially as darkness encroaches ever more. Back

Sabine Pierick: · Title: CO2 - Z · Dimensions: 150 x 150 cm (2 parts) · Material: ·Copper pipe on iridescent petrol background · Year: 2024 Description: "CO2-Z" is more than just an artwork – it is a statement, a fusion of aesthetic innovation and burning topicality. The centerpiece of the installation is a fascinating wall object made of handcrafted copper on canvas. The deep, meditative luminescent petroleum is traversed by precisely placed copper lines that culminate in a central ring - a visual metaphor for our planet's carbon cycle. The materials used - copper, coal, and water - are carefully chosen to reflect the complexity of the climate debate. Pierick's innovative technique transforms a 15-meter-long copper pipe into a delicate structure that simultaneously unites industrial precision and organic shaping. The installation is complemented by an amorphous floor component that can be adapted to different exhibition spaces, thus offering flexibility for various contexts. "CO2-Z" is not just an aesthetic eye-catcher, but also a work of high conceptual depth. It addresses one of the most pressing issues of our time - climate change - in a manner that is both intellectually stimulating and visually impressive. In this fusion of aesthetic refinement and ecological engagement, Pierick's work aligns itself with the tradition of conceptual and environmental art. She creates a dialogue between industrial precision and natural unpredictability, challenging the viewer to reflect on the complex interconnections between human actions and global environmental changes. "CO2-Z" promises to be a conversation piece of enduring value that redefines the boundaries between art, science, and ecological consciousness. One can be pessimistic if one looks at the possible end. Sabine Pierick explores the flourishing certificate trade in an artistically ruthless way as a doomsday scenario, already down to earth. Anyone who does not pull the lever ends up in a dripping, tarry puddle of lifelessness. Her frighteningly clear formula is greenwashing = doomdating. The impetus is clear: anyone who rids themselves of their responsibility not only risks, but is responsible for the decline of our planet into irreversible rigidity. When Robert Smithson placed his legendary 1500-meter-long earthwork "Spiral Jetty" at the edge of a salt lake in Utah in 1970, he combined the formally highly energetic landmark of black basalt stones with a deeply spiritual force tied to geology. Today, his land art icon, which remained invisible for decades due to flooding, lies dormant once again in the desolation of the salt flats. Inevitably, one senses the connection of the spiral-shaped symbols through the centuries. Topic: Water Risk. Fifty-four years after Smithson, Sabine Pierick lays down her 15-meter-long copper spiral installation like a universal memorial directly on planetary ground, instantly mapping humanity's realm of responsibility on a global scale. Is it still an oasis, or already on the way to becoming a wasteland? The CO2-Z spiral challenges the mind to focus while relentlessly expanding perception to take personal responsibility. When everything is at stake, the symbols must be compelling—especially as darkness encroaches ever more. Back

www.atelier@sabine.pierick.com Atelier, Kunst, Biennale 2024, Zukunft; Energie, Fortschritt SABINE PIERICK Something new is emerging! Soon you will be able to discover inspiring works and experience creative impulses again. The deeper meaning comes from the material. Carbon C6 | King of the Elements Hard coal Copper C29 | Electricity and heat conductor Real copper Water H2O | Basis of all life Petrol "Art is a step from the visible known to the hidden" (K. Gibran) my Journey/BIOGRAFIE Anker 50 ARTWORK by CLICK on selected SLIDES CO2 - Z CLICK for Artwork 1723 / 1323 CLICK for Artwork 1916 CLICK for Artwork CO2 - Z CLICK for Artwork 1/10 EXHIBITIONS atelier@sabine-pierick.de Cookies / Imprint Data Protection / Data Security

Sabine Pierick: 1916 · Title: Waterblind · Dimensions: 120 x 120 cm · Material: Real copper on various granulated coal, petrol · Year: 2016 Description: The work "Wasserblind" shows a complex, geometric composition of rectangular shapes in various shades of green and blue, covered by a crystalline structure reminiscent of a water surface. The title alludes to the shimmering, elusive quality that emerges when looking at the work - like looking at water distorted by waves. The use of charcoal and copper pigments gives the image a shimmering metallic texture and tactile presence. Formally, the picture can be classified in the tradition of Op Art. Like other representatives of this art movement, e.g. Bridget Riley or Victor Vasarely, Pierick uses geometric shapes and color contrasts to evoke perceptual effects such as movement, depth and blurriness in the viewer. However, she gives these stylistic devices a very unique, substantial quality through the use of pure materials. Overall, "Wasserblind" evokes a complex visual experience that invites the viewer to explore the limits of perception. The play with illusion and reality, materiality and surface, order and movement creates a fascinating tension that puts the viewer into a state of concentration and reflection. Back

Sabine Pierick: 1315 · Title: Big Player · Dimensions: 150 x 150 cm · Material: Real copper disc on various granulated hard coal · Year: 2015 Description: The monumental work "Big Player" is in the tradition of late modern material and process art, but reflects contemporary discourses on sustainability and resource awareness. The circular composition, realized in graduated coal and real copper, transcends the purely formal aesthetics of minimalist art and opens up a complex dialogue between industrial heritage and contemporary material aesthetics. The materials used are not only relevant in terms of formal aesthetics, but also give the work cultural and historical significance: the coal, as a witness to industrialization and at the same time as a fossil remnant of geological processes, points to the ambivalence of human development. Copper, on the other hand, one of the oldest metals used by humans, symbolizes both technological progress and the elemental connection to the earth. In the tradition of Arte Povera and German post-war material artists such as Joseph Beuys, Pierick develops his own material language that explores the tension between nature and culture, between geological time and human history. The haptic quality of the surface invites multi-sensory perception and thus overcomes the traditional distance between viewer and work of art. Back

Sabine Pierick: SEASONAL HAPPINESS ·Title: Winter · Dimensions: 150 x 150 cm · Material: Real copper disc on various granulated hard coal · Year: 2023 Description: The viewer traverses the earth's disks, full of nature, in an almost physical manner: one follows amorphous tracks, explores landscapes that seem vegetal, invents one's own paths and thus broadens one's mind. Imagination of the senses: the Mars-red-dark summer disk heralds scorching heat, vaguely cloaked eruption density, the winter disk lets the sleet hiss harshly past the ear, the spring island beckons with cosmic budding awakening, the autumn cycle self-confidently and blatantly jams itself against its own forces. What the four different temperaments have in common is their support in the framing coal black. The crystalline primordial black knows how to hold the treasure from which it was born. Back