Kallenbach becken und fels

Susanne Kallenbach

Susanne Kallenbach

Felde, Germany

Presentation

Over the years, Susanne Kallenbach has developed a highly individual, highly idiosyncratic vitrified pottery centered around simple archaic basic forms and rough, brittle, natural surfaces. The calm, intrinsically elegantly moving bodies of the vases, bowls, cups and hummingbirds, their finely smoothed interiors, the jagged crusty surface, the graphic drawing and the picturesque texture of the clay mantle, as well as a characteristic, predominantly blue – gray color palette, are decisive Whole the far-driven abstraction of the ceramics making means...

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... In this formal object-like concentration, the lapidary conciseness of the gestural structures and the ingenious entanglement of completely opposite vascular experiences, an extraordinary, calculated power of sculptural design reveals itself, which with great certainty structures volume and surface and keeps it in vital tension.

Susanne Kallenbach’s ceramic art is an art of sensitively balanced opposites, tense contrasts of calm and movement, rigor and liveliness, mass and lightness. Already the guiding theme of the construction is the balance of disciplined, so statuary basic shape and natural, dynamic mold growth: For example, with the tall slender vases, the fragile balance of calm vertical standing and fragile tilting, organic swelling, bulging vaulting and gentle widening of their cylinders – one put into the picture lability of the large form, which denies the applied vascular statics optically again. The result of such symbolic, artistically clarified references to nature are the noble Kallenbach vascular silhouettes. This subject of “strict norm in individual appearance”, so the artist’s formulation, is further developed in the desired distance of the clearly stereometric, always obligated to the ideal circle figure, so artificial volumes and the spontaneously durchschluchteten, just natural surfaces, also alternately glazed Inner wall and porous external appearance. She reflects the genuinely ceramic, in her sculptural understood principle of the cavity, which is sharpened here by the intended thin walls: Even larger vessels are stretched to wafer-thin shards, from the pure emptiness inside – the “nothing” of the exhibition title – separates the observer’s eye as a “shell” only a narrow tone veil, which immediately volatilizes the defined volume again, an almost slender boundary line, then hit again in contrast to the heavy force of the coarse structures.

In her work, Susanne Kallenbach reflects the basic conditions of ceramics in a variety of ways, ie the means that are essential to a vessel and that lead to any sculptural object. Now the material is already significant – in the sound is already the message, so that you have to understand their shards beyond traditional function deduction directly from the immanent reality of the artwork, just from raw material, texture and colorful appearance. The artist is primarily interested in formal, sculptural questions: in the definition and tectonics of bodies. She examines boundaries, axes and densification of space, the relationship between inside and outside, volume and surface as well as their atmospheric values: views, insights

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