![]() ![]() After initial scepticism about the project, he soon owned the support of the entire municipality parish priest Thomas Braunstein even praised Strumbel’s work as “a gift from heaven.” The reopening of the revamped church on 1 July 2011 was present in all media platforms: leading print media such as Der Spiegel and FAZ published articles about the 6 High Meter Madonna dressed in traditional Black Forest attire, with her infant enthroning Jesus above the entrance. Strumbel approached the church with the idea of a very modern intervention. In the German village of Goldscheuer, the artist reconstructs the interior of the integrated 1962 Catholic Church of Maria. With his transformed objects, Strumbel successfully creates an illusionary world that reflects the sickness of society. He exposes the mechanism of a society that capitulates for status in the desire and pursuit of consumption on the constant appeal of the mediim. With his art, Strumbel initiates a change in social values: traditional ideals, clichéd notions of home and the reality of the individual are dissolved and transformed into something aesthetic that becomes an allegory of the social status symbol. How do I define home? How do I see myself? How do I project myself onto the outside world? How and through what do I define myself? Strumbel raises significant identity issues with his work. Ne other important aspect of this work relates to the notion of ‘Heimat’ a German word that does not quite translate in English, but loosely refers to heritage or being at home. Strumbel, however, creates a unique artificial and artistic aesthetic with its use of extreme exaggerations to form content. ![]() With their colourful and bright surface, the artworks are reminiscent as light and shiny pieces of pop art. At first glance, these objects are not disturbing content but appear like beautifully shaped sculptures made of wood. In this way, he places the objects within a completely new and often provocative context. He replaces important elements of the cuckoo clock, such as traditionally carved ornaments with motifs dealing with themes of violence, pornography and death. Another key aspect of this work refers to the concept of ‘Heimat’ a German word that cannot be entirely translated one on one but loosely refers to heritage or home.Stefan Strumbel made a name for himself in particular through traditional cult artefacts such as cuckoo clocks, anchors and crucifixes exaggeration and elements of street art and pop art which he reinterpreted. Strumbel, however, creates both, a unique artificial and artistic aesthetic with his usage of extreme exaggerations in regard to form content. With their colorful and bright surface, the artworks appear as light and shiny pieces of pop art. At first sight, these objects don’t reveal any of the disturbing content but appear as beautifully crafted wooden sculptures. ![]() By doing so, he puts the objects into a completely new and often provocative context, always pushing boundaries. He replaces significant elements of the cuckoo’s clock, such as traditionally carved ornaments with motives that deal with the subjects of violence, pornography and death. Stefan Strumbel made a name for himself by exaggerating traditional and cult artifacts such as cuckoo clocks, anchors and crucifixes and reincorporating elements of Street Art and Pop Art. ![]()
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