Lenna Wood Art Lenna Wood the Kid and Her Art
Lena Göbels' childhood memories create brilliant artworks!
Lena Göbel creates incredible artworks using the traditional technique of woodcutting
Lena Göbel uses her carvings to create artworks combining a press and painting technic that she developed.
Her piece of work immerses the viewer into partly colored as well equally color-reduced worlds filled with fantasy creatures.
With her piece of work the creative person interprets her perception of everyday civilization in a fun and idea provoking manner.
Dear Lena, thank you for accepting our invitation. Delight shortly introduce yourself and tell us a chip about the main theme behind the work you shared with us for this feature.
I'chiliad an Austrian artist and I grew upwardly in a village in Upper Austria.
Raised by two artists - my parents - in a 400-year-sometime house with an old „Wirtshaus" (a typical Austrian Tavern) which was run by my grandmother.
In a side building, in that location was a locksmithery belonging to my grandfather, which is now part of my studio.
There have been many influences which shaped me.
My childhood took place between the earth of art and a very down-to-earth lifestyle with „Frühshoppen" (forenoon pints), making „Most" (cider) and chopping wood for the side by side winter flavor.
I reflect these childhood memories in my piece of work, it's topics and materiality.
Later on school I went to Vienna and studied at the Academy of fine Arts at the class of Gunter Damisch, „Graphics and printmaking techniques".
After that, I went to Berlin for v years and worked there with a colleague in a very dainty studio.
Since 2014, I'k dorsum in Austria and switch between my habitation hamlet and Vienna.
My primary focus is since over 20 years on woodcut.
I work unconventionally with that technique because I don't produce any editions.
Each work is unique.
I print the woodcut on paper and afterwards I stick them collage-like on canvas.
In addition, I work in large formats and therefore I had and however have the need not to regard the wooden printing blocks every bit a lost form after the impress just ascribe a sculptural significant to them.
They are sculptures by themselves and at the aforementioned time part of the entire process.
In my topics, very ofttimes animals announced.
Mostly in the form of mixed creatures wearing very erstwhile and traditional clothes.
Ambiguity resides inside. The motive shouldn't exist recognizable at offset sight.
You grew upwards in a household with both your parents artists. Was it obvious you would be an artist as well?
For me, information technology was not obvious at all.
It was quite the opposite.
I grew up with art and took this surrounding every bit standard and natural when I was a small-scale child.
Of grade, I loved this freedom, atmosphere and the fact that both of my parents were working at domicile.
But I never considered being an creative person is a profession or chore.
Later on seeing woodcuts by Anselm Kiefer at the Tate Modern at the age of 15, that technique really impressed me and started working on it.
I read you lot started working with wood when y'all were still at school. How did that come near?
I was drawing, painting and as well did etchings before, only woodcut was the medium of my personal expression, especially within this artist household.
Maybe unconsciously likewise because none of my parents ever worked on that medium. I discovered it for me.
You studied art at the Academy of Fine Arts, Vienna, under Gunter Damisch. What did you take away from those years?
The years at the academy have been very impressive and amazing, even if characterized by insecurity.
Gunter Damisch was a wonderful professor and an outstanding person.
He could see the individuality of each student.
Maybe I took away from these years that actuality and the own personality in artwork are essentially…and of course two important quotes:
„Anything goes" and „Your problem is your opportunity" -Gunter Damisch
In 2018 you did a residency at the Galleri Svalbard, Svalbard/Spitzbergen. I had to check the map to larn that it is an Archipelago in northern Norway by the Arctic ocean. Can you lot tell us a flake about your time there?
I'm fascinated by glaciers and extinct areas.
This I shared with my father.
Afterwards he died, I took that residency also as a adventure to work off his death.
Working in a kind of lonesome area surrounded past a wonderful landscape is a great possibility to really focus on work.
What happened during the first intense quarantines, did yous have the take a chance to work more intensely?
During the first lockdowns, I worked concentrated and focused.
I stayed in Upper Austria in my family home.
It was very calm, and I enjoyed the fact that I couldn't meet anyone.
I guess it felt a bit like my residence in Svalbard/Spitzbergen…but with green trees.
Is it true that your serial are named after songs?
It's true that I name sometimes works after songs which I listened to while working. „Lucretia My Reflection" by Sisters of Mercy was my absolute favorite one during the first lockdown.
Actually, the whole discography past the band, but this song influenced me the most.
It created a work cycle followed by an exhibition with that title.
What are the pinnacle 5 songs on your playlist when y'all work now?
„Then Comes Dudley" by Jesus Lizard
„Someone Somewhere" by Simple Minds,
„I Tin't Escape Myself" by The Sound
„Everywhere" (Fleetwood Mac),
„E'er" (Erasure)
You have a large studio in the countryside. Do you also take a space in Vienna that you work in? How do you organize your working fourth dimension?
I take a studio in the countryside and one in Vienna.
It took i'south time, but now I'm able to piece of work almost every bit effectively in both places.
Although I have much more than stuff and cloth in the countryside.
It'due south easier to get the wood I'm working with in Upper Republic of austria.
Tin can yous take us a bit through the steps of creating an artwork? Is in that location a series in your caput? Is it made of a theme and then develops from there?
The idea for a new work is created in the head. Usually, a rough draft follows.
Then I transfer this to the woods. In many cases, I yet change something in the process of carving.
So follows a test print.
Hither, too, I am still relatively free in the implementation, because changes are possible.
Then I collage it on canvass and afterwards I start painting.
But the sequence can likewise be completely dissimilar. It is very important to me being flexible during the whole process.
In contrast to the woodcut, which limits me in my spontaneity by its material nature, painting allows me whatsoever freedom.
The initial idea often diverges strongly to the terminal result.
Moving between the limitations of spontaneity by woodcut, and the freedom of painting.
Do you have any rituals when you lot work?
No, not really.
It's always a new state of affairs.
I try to avoid routines, and therefore, mayhap rituals as well.
The work yous are sharing here is from the past two years, what are you working on now 2022?
I will go on with my work as usual and try to meliorate, promise that there will be a development being visible within my fine art.
At the moment, I'm besides experimenting with molding and sculpture again.
The adjacent opening volition be on May 15th in Nürnberg and I'm also working on a testify which opens in Oct at the Gallery 422 in Gmunden, together with the artist Max Bernhard.
In 2019, yous had an exhibition with your mother, the artist Maria Moser at the Private Museum Angerlehner in Thalheim, Wels. What was that like?
This exhibition was a very personal experience.
Honestly, I always rejected exhibiting with my parents.
I take always been conscientious to go my ain style, autonomously from the fine art of my parents.
It'due south not easy to discover your individual personality.
You are compared very quickly, and I never wanted to exist compared to my parents' art.
Just this can not be prevented, anyway.
When we got the offer to exercise this exhibition, we both were first skeptical merely after a while nosotros understood that - too of our art - it's such a great personal take a chance for us to work together on this prove.
It would accept been a big shame if we missed this experience.
When you work, do you need to be lone or practice yous prefer working with others?
I definitely prefer working alone.
How important is Instagram for you as an creative person?
I used to avoid social media for a long fourth dimension and started with Instagram quite late.
I like to be by myself in my studio instead of running to every opening and doing network „outside".
For this reason, I decided to get an Instagram Business relationship.
It is a good possibility to show my piece of work and stay in contact, although I'g stuck in the countryside and non leaving my studio.
Follow the creative person on Instagram:
A big thank you to Lena for sharing with us and our viewers her story and her wonderful work
More on the artist:
Bio:
Lena Göbel
Built-in 1983 in Ried i. I., Österreich
2003 - 2008 Academy of fine Art, Vienna under Prof. Gunter Damisch
2008 - 2013 Lived and worked in Berlin
since 2014 lives and works in Vienna and Upper Austria
Prizes, scholarship, and residencies:
2020 Anton Faistauer Preis
2019 Residency MdbK Studio, Spinnerei Leipzig, Federal republic of germany
2018 Klemens Brosch Preis
2018 Residency Galleri Svalbard, Svalbard/Spitzbergen
2016 SilvrettAtelier
2007 Talent promotion bonus from the state of Upper Austria/Talentförderungsprämie des Landes Oberösterreich
Fine art in public space:
2018 Design of the sanctuary and a church window in the parish church building of Ampflwang in Hausruck
Diozöse Linz
Solo shows a selection:
2021 Lucretia, My Reflection, Museumspavillon, Salzburg
2021 gtogether with Erich Steininger, Grafikkabinett Steininger, Rapottenstein
2020 Parallel Vienna, Gallery Statement, Galerie 422
2020 Der Tümpel von Zwickledt, Kubinhaus, Wernstein am Inn
2019 2 Captains - one Mission, Museum Angerlehner, Thalheim bei Wels
2018 dunkler ex machina, Galerie in der Schmiede, Pasching / Linz
2017 O.T., Galerie Gerersdorfer, Wien
2017 radikal - anders, Schloß Lamberg, Steyr
2016 Hechte trachten Dirndl dichte, Atterseehalle, Attersee am Attersee
2015 Ascertainment Schnurrbert, Galerie 422, Gmunden
2014 Meine erste Goldhaube, Galerie Gerersdorfer, Wien
Group show a selection:
2022 Black is the loneliest colour, Kunstverein Eisenstadt
2021 Apeiron - Why Austrinas Now?, The Lithuanian National Museum of Art, Litauen/ Vilnius
2020 Faistauer Preis 2020, Traklhaus, Salzburg
2019 Preise und Talente 2019, Linz
2017 Ausstellung der Teilnehmer des SilvrettAteliers 2016, Künstlerhaus Bregenz
2016 Newspaper Work III, Galerie Gerersdorfer, Wien
ingersollglind1989.blogspot.com
Source: https://www.munchiesart.club/art-now-2022/all-about-lena-goebel-artist
0 Response to "Lenna Wood Art Lenna Wood the Kid and Her Art"
Post a Comment