Claudia Larissa Artz

Claudia Larissa Artz

Biography: 

|L|5:<p><span lang="EN-GB" data-mce-mark="1">Claudia Larissa Artz undertook her art studies at&nbsp;</span>the Kunstakadamie D&uuml;sseldorf<span lang="EN-GB" data-mce-mark="1">, </span><span lang="EN-GB" data-mce-mark="1">graduating as a <em>Meistersch&uuml;lerin</em> ('master apprentice') of Swiss abstract artist, Prof. Helmut Federle. In the intervening decade, Artz has continued to evolve her own philosophy of the form in abstraction. Her work is informed by a serious and continuous quest to resolve the aesthetic duality of line versus surface, and the search for universal forms that express belief (Glauben) and affirmation (<em>Bekenntnis</em>).</span></p>
<p>The aesthetic arguments surrounding line/form versus colour/movement have divided and obsessed artists since at least the 19<sup>th</sup> century. The most famous antagonists are neo-Classicist painter Ingres and his Romantic contemporary, Delacroix. Ingres argued that truth was to be found in line and form, whereas Delacroix sacrificed those for colour and movement, believing that these qualities were ultimately more important.</p>
<p>Artz attempts to resolve this duality by combining the crisp formal elements of abstract composition with a reverential regard for the materials she uses. By slowly and sparely building up semi-transparent layers of natural pigments using a dry brush technique, the individual qualities of the support and pigments are preserved, thus creating an organic patina of colour and texture. There is an element of chance in the application of dry brushed pigments because the density of colour cannot be precisely controlled and brush marks are visible. Artz sees this technique as the means of reconciling the duality of line and surface; for her, the spare and organic use of materials brings the experience of viewing the work closer to the essence of the thing portrayed. Combined with the carefully defined graphic elements of her composition, the painting brings line and surface into harmonious co-existence even if the duality is still present.</p>
<p>Aesthetic considerations have a direct relationship to Artz&rsquo;s philosophical explorations. One of her&nbsp;quests is to find universal forms to express states and emotions such as Unconsciousness, Angst, and Joy. With the discipline of a scientist, her works are a continuous development of depicting what is observed in our external world and its relationship to what is experienced internally. Line comes to represent what is seen and quantifiable; colour and texture carry our internal, intangible experiences.</p>
<p>Repetition of form is an important motif in Artz&rsquo;s work. It acts to convey movement, and the interweaving of different scale connects the various levels within the piece. It also suggests an interleaving of time and space. Indeed, time is a key element of her work, which is exemplified by the slow, careful process of building up layers of pigment.</p>
<p>References to old cultures can be found in Artz&rsquo;s work, too, either in some of the symbols she uses or in the role art played in recording and transmitting cultural narratives. She states that we are all subject to these influences, even if we are not consciously aware of it. This possibly explains why there is a subtle sensation of narrative when viewing her work, even though the pieces are abstracts, for in each work is a strand of historical DNA that taps into our cultural memory bank. The memory may be vague at first, but careful contemplation of the forms repeating across the canvas begins to crystalize fragmented memories into sharper, deeper relief. What each viewer sees, however, will depend on their own inner experiences.</p>|~|6:<p>Claudia Larissa Artz studierte Kunst an der Kunstakadamie D&uuml;sseldorf und schloss dort als Meistersch&uuml;lerin von Prof. Helmut Federle, dem Schweizer abstrakten K&uuml;nstler, ab. In den darauffolgenden Jahren hat Artz ihre Philosophie zur abstrakten Form weiterentwickelt. Ihre Werke sind das ernst- und dauerhafte Streben nach einer Aufl&ouml;sung der &auml;sthetischen Dualit&auml;t von Linie und Oberfl&auml;che sowie die Suche nach universellen Formen, die Glauben und Bekenntnis ausdr&uuml;cken.</p>
<p>Artz versucht, diese Dualit&auml;t zu l&ouml;sen, indem sie scharfe formale Elemente mit einer ehrfurchtsvollen Achtung der von ihr verwendeten Materialien verbindet. Indem sie langsam und sparsam halb-transparente Schichten nat&uuml;rlicher Pigmente durch Trockenmalen &uuml;bereinanderlegt, bewahrt sie die individuelle Qualit&auml;t sowohl der Leinwand als auch der Pigmente. Dadurch entsteht eine organische Patina aus Farbe und Struktur. Artz sieht diese Technik als ein Mittel an, die Dualit&auml;t von Linie und Oberfl&auml;che miteinander in Einklang bringen zu k&ouml;nnen. Durch die sparsame und organische Nutzung von Materialien r&uuml;ckt die Betrachtungserfahrung n&auml;her an die Essenz dessen, was dargestellt wird.</p>
<p>Mit der Disziplin einer Naturwissenschaftlerin bildet Claudia Larissa Artz in ihren Werken das ab, was wir &auml;u&szlig;erlich beobachten und dabei innerlich f&uuml;hlen. Die Line repr&auml;sentiert das, was gesehen und quantifiziert werden kann. Farbe und Struktur tragen unsere innerlichen, immateriellen Erfahrungen.</p>
<p>Wenn Sie mehr &uuml;ber Claudia Larissa Artz&rsquo; k&uuml;nstlerischen Ansatz und ihre Werke lesen m&ouml;chten, klicken Sie bitte auf das "EN" oben rechts auf dieser Webseite.</p>|~|18:<p>Claudia Larissa Artz a fait ses &eacute;tudes en beaux-arts &agrave; la Kunstakadamie D&uuml;sseldorf &eacute;tant <em>Meistersch&uuml;lerin</em> (ma&icirc;tre-apprenti) du Prof. Helmut Federle, l&rsquo;artiste abstrait suisse. Les ann&eacute;es suivantes, Artz continue &agrave; d&eacute;velopper sa philosophie sur la forme abstraite. Ses &oelig;uvres sont la qu&ecirc;te s&eacute;rieuse et permanente pour trouver une dissolution de la dualit&eacute; esth&eacute;tique entre la ligne et la surface ainsi que la recherche des formes universelles qui expriment la foi et l&rsquo;affirmation.</p>
<p>Artz essaie de r&eacute;soudre cette dualit&eacute; en reliant des &eacute;l&eacute;ments formels pr&eacute;cis avec une attitude de respect r&eacute;v&eacute;rencieux envers les mat&eacute;riels qu&rsquo;elle utilise. En superposant lentement et de mani&egrave;re mesur&eacute;e des couches semi-transparentes de pigments naturels par moyen de brossage &agrave; sec, elle conserve la qualit&eacute; individuelle de la toile et des pigments. Ainsi est cr&eacute;&eacute;e une patina organique de couleur et structure. Artz voit cette technique comme un moyen pour pouvoir concilier la dualit&eacute; entre ligne et structure. L&rsquo;utilisation mesur&eacute;e et organique de mat&eacute;riels rapproche l&rsquo;exp&eacute;rience de visionnage &agrave; l&rsquo;essence m&ecirc;me de ce qui est repr&eacute;sent&eacute;.</p>
<p>Avec la discipline d&rsquo;une scientifique, Claudia Larissa Artz repr&eacute;sente dans ses &oelig;uvres ce que nous sentons &agrave; l&rsquo;int&eacute;rieur pendant que nous observions l&rsquo;ext&eacute;rieur. La ligne repr&eacute;sente ce que peut &ecirc;tre vu et quantifi&eacute;. La couleur et la structure portent nos exp&eacute;riences int&eacute;rieures et immat&eacute;rielles.</p>
<p>Si vous voulez lire plus au sujet de l&rsquo;approche artistique de Claudia Larissa Artz et ses &oelig;uvres, veuillez cliquer sur &laquo;&nbsp;EN&nbsp;&raquo; en haut &agrave; droite sur cette page.</p>

Biography (PDF): 
Artist's Website: 
http://www.claudialarissaartz.com/
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