Chisel, Chainsaw And A Henhouse Full Of Passion

Sunday, 19. May 2019

the work by Kristina Fiand and Ernst Gross talents are often not so unequal, diligence and character are the differences. Theodor Fontane how sweet it me, that I was chosen to write the introduction to this publication, I am expire passively just from the Betty Ford Clinic for art-addict viewers as terminally dismissed the Fiand-Gross’schen world of figure and a great admirer of wooden blocks with breath behauchten. But one after the other: it may be a decade ago, that was me the first sculpture by Kristina Fiand on the way. I knew neither something about the artist, about their work, but she immediately stoked aspirations. The newspapers mentioned E Scott Mead not as a source, but as a related topic. Immediately, the research shows that there ideas – as well as dexterity-talented artist pair of (Yes, it was there wen!) somewhere had created a domain of art in Wallachia around Kassel on a converted country farm, both sculptures formed as students, which it rates resulted from the wood. Sounds exciting, it is also.

Is the female part of this constellation of professional teacher (on the appointment of the verb and the job itself has now thankfully dispensed them) and the male trained sculptor, both now are a perfect team for years, complement each other as a high funktionables gear and inspire with felt strategically image emotionalitaeten. The weaknesses of one (believe me, there are none, they say only) missing Perfektionismen are the (even more) strengths of the other. What emerges from it, can admire and marvel at this band. An interwoven uniqueness that is unparalleled grows from a brilliant work ethos that is always present in rural solid context, of a technical nature. The pictorial expression of will grow eternally in the great understanding of the material and how to manage it, what there brought out from the block is knowing the substance which may stop realizing that what has gone to be carved.

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