Philine-Johanna Kempf
Lebenslauf
1954 in Bremerhaven geboren
1959 - 1972 Wohnhaft in Oldenburg
1972 - 1976 Fachhochschule in Hildesheim mit Abschluß als Dipl.Ing Metall Designerin
1976 - 1984 Wohnhaft in Hittfeld, Zweitstudium an der Uni Hamburg und der Hochschule für bildende Künste Hamburg, Aufbau einer eigenen Werkstatt, Mitglied BBK, BK, GEDOK,IAPMA
1984 - 1989 Werkstatt und Wohnung in Maschen
1989 Verlegung von Atelier und Wohnung nach Baden-Baden, Aufbau einer Galerie
1994 - 1997 Wohnung und Atelier in Chile / Südamerika Studienreisen: Argentinien , innerhalb Chiles von Feuerland, Patagonien bis zur Atacamawüste und zur peruanischen Grenze. Arica, Peru, Bolivien, Costa Rica, Kolumbien, Brasilien, Kenia, China
seit 1997 Leben und Arbeiten in Karlsruhe
1998 im April Namensänderung, Künstlername von 1976 bis 3/1998: Philine-Johanna Giebel-Schwarz jetzt Philine-Johanna Kempf: PHILINE - alle Signaturen auf meinen Werken werden mit diesem Namen unterzeichnet.
1999 Wohnhaft in Muggensturm mit Atelier
FILMPRO (Gründung 2008)
Seit 2011 Wohngalerie in 13407 Berlin
Seit 2010 weiterer Arbeits-/Wohnplatz in Stotel
Oktober 2015 Umzug nach Mallorca/Felanitx mit JUKE-ART
April 2022 Umzug innerhalb des Ortes.... Kunst findet sein Zuhause... Heilung/ Energiearbeit darf stattfinden.
bis heute u. a.: Einzel- und Gruppenausstellungen in Deutschland, Dänemark, Österreich , Frankreich, USA, England, Chile, Bolivien, Mexiko, Holland, Griechenland, Japan, Schweiz, Polen, ehem. UdSSR, Süd- Korea, Australien, Belgien, Bulgarien, Spanien etc. Diverse öffentliche Ankäufe, Auszeichnungen und Arbeitsstipendien (u.a.1995/2004/2011 im Wilke - Atelier, Bremerhaven – 2007 Fundation Valparaiso/Spanien) Arbeitsgebiete: Tragbare Kunstobjekte/ Objektkunst Skulpturen und Objekte aus Bronze,Eisen, Stein, Keramik, Holz, Leder und selbst geschöpftem Papier Malerei, Graphik, Unikat-Bücher, Unikat-Teppiche, Performance Dokumentarfilm seit 2004 Seminare in der Erwachsenbildung, mit Studenten, sowie Kindern. Weitere Informationen unter: HYPERLINK "http://www.kunst-philine.de" www.kunst-philine.de Buchprojekt: Philine, Sich in der Kunst entdecken; ISBN 3-88190-373-9 2013 Finden, was verbindet; ISBN 978-3-00-040167-1
2022 „ Lichtfänger“ ein Märchen von 9-99 ISBN: 9783710349645
auch als Podcast zu hören - Spotify
Div. Gedichtbände - Lesungen und immer wieder Konzerte
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In den letzten Jahren habe ich mich mit der Filmproduktion beschäftigt.
Eine Trilogie EXPERIMENTALE "Menschenrechte- Menschenwürde" wurde in Zusammenarbeit in Chile fertiggestellt. Es kristallisierte sich die Zusammenarbeit mit Diego Pino Produktionsfirma Krayon/Valdivia heraus und ebenfalls mit Gabriela Lang, Gala-artclip/Karlsruhe.
Durch den Besuch seit nun mehr als 20ig Jahren Filmfestival Locarno, habe ich die gewonnen Kontakte für diese Arbeit nutzen können. Meine Filme sind keine üblichen, sondern suchen ständig nach neuen Ausdrucksmitteln,die sich als eigenständiges Kunstprodukt zeigen lassen können. Es ist ein weiterer Weg sich in Bildern zubewegen, um Augenblicke einzufangen, die der Vergänglichkeit ausgesetzt sind.Der Film ist auch eine Möglichkeit mit vielen Menschen eine gemeinsame Spur zubewandern und im großen Ganzen läßt es sich zu einer Sache fügen. In diesem Zusammenhang möchte ich meine Tochter Tabea erwähnen, die etliche Performances dokumentiert hat und ich diese Aufnahmen einfügen konnte. Ein glücklicher Zustand.
So haben Gabiela Lang und ich die FILMPRO gegründet.
Es geht uns um Eigenständigkeit eigener Aufgaben und das Zusammenfügen von gemeinsamen Projekten.
Born in Bremerhaven in 1954
1959 - 1972 Lives in Oldenburg
1972 - 1976 University of Applied Sciences in Hildesheim with a degree in metal design
1976 - 1984 Lives in Hittfeld, second degree at the University of Hamburg and the Hamburg Academy of Fine Arts, sets up his own workshop, member of BBK, BK, GEDOK, IAPMA
1984 - 1989 Workshop and apartment in Maschen
1989 Moved studio and apartment to Baden-Baden, set up a gallery
1994 - 1997 Apartment and studio in Chile / South America Study trips: Argentina, within Chile from Tierra del Fuego, Patagonia to the Atacama Desert and the Peruvian border. Arica, Peru, Bolivia, Costa Rica, Colombia, Brazil, Kenya, China
Living and working in Karlsruhe since 1997
1998 in April name change, artist name from 1976 to 3/1998: Philine-Johanna Giebel-Schwarz now Philine-Johanna Kempf: PHILINE - all signatures on my works are signed with this name.
1999 Living in Muggensturm with studio
FILMPRO (founded in 2008)
Since 2011 residential gallery in 13407 Berlin
Since 2010 additional work/living space in Stotel
October 2015 Move to Mallorca/Felanitx with JUKE-ART
April 2022 Move within the town.... Art finds its home... Healing/energy work can take place.
to date, among others: solo and group exhibitions in Germany, Denmark, Austria, France, USA, England, Chile, Bolivia, Mexico, Holland, Greece, Japan, Switzerland, Poland, former USSR, South Korea, Australia, Belgium, Bulgaria, Spain, etc. Various public purchases, awards and work grants (including 1995/2004/2011 in the Wilke studio, Bremerhaven - 2007 Foundation Valparaiso/Spain) Areas of work: Portable art objects/ object art Sculptures and objects made of bronze, iron, stone, ceramics, wood, leather and self-made paper Painting, graphics, unique books, unique carpets, performance
documentary film since 2004 Seminars in adult education, with students and children. Further information at: HYPERLINK "http://www.kunst-philine.de" www.kunst-philine.deBook project: Philine, Discovering yourself in art; ISBN 3-88190-373-92013 Finding what connects; ISBN 978-3-00-040167-1
2022 "Light Catcher" a fairy tale from 9-99 ISBN: 9783710349645
can also be heard as a podcast - Spotify
Various volumes of poetry - readings and concerts again and again
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In recent years I have been involved in film production.
An EXPERIMENTAL trilogy "Human Rights - Human Dignity" was completed in collaboration in Chile. The collaboration with Diego Pino production company Krayon/Valdivia and also with Gabriela Lang, Gala-artclip/Karlsruhe emerged.
By attending the Locarno Film Festival for over 20 years now, I have been able to use the contacts I have made for this work. My films are not conventional, but are constantly looking for new means of expression that can be shown as an independent art product. It is another way of moving in images to capture moments that are subject to transience. Film is also a way of following a common path with many people and, on the whole, it can be put together to form one thing. In this context, I would like to mention my daughter Tabea, who has documented a number of performances and I was able to insert these recordings. A happy situation.
This is how Gabiela Lang and I founded FILMPRO.
We are concerned with independence in our own tasks and putting together joint projects.
I decided to start my intro with a poetic text that I want to perform. It is a pleasure for me to improvise with good musicians.
RAINDROPS
Gentle rain falling
not gently
drops brushed against the skin
the child remembers:
“singing, dancing through a warm wall of rain”
the child sprays, shakes,
splashing into the puddles
jumps
jumping with joy
completely itself
soaked through all clothes
sucks itself in
slides – slicks
sunken in the mud
softened sand
raindrops smooth out memory
beneath the sole
forms
a new picture
understanding in the sound of colors,
unforgettable
emerges
giving you a smile.
CAN YOU HEAR THEM
Can you hear them?
Delicate, dappled sounds
from cities shrouded in mist
populated
they were
attracted
colours from thoughts
sprung from nothing
cut
bound
sounds they experience
feeding each other
covered in a shimmer...
Heard, seen
movements detected -
without a doubt
life
rainbow retreated.
light and shadow,
refractions
warm the heart
standing on the rainbow
reflects our face...
I am
you are
we are
Your work intriguingly navigates the realms of the visible and the invisible, bridging tangible art with intangible emotions and spiritual experiences. Could you describe the creative and conceptual processes that guide you in balancing these elements within your pieces? Please share insights into a particular artwork where this balance is prominently showcased, explaining the thoughts and techniques behind its creation.
The first question is already based on the word of the visible.
Many replacement pieces contain a collage of thoughts and emotions and their release. Ultimately, everything is based on the interactive sphere of the invisible, which has always been allowed to manifest itself in my work. There are no laws for this, but rather those that have already anchored themselves in me and wanted to be visible to this day.
The harmony is based on the mix of materials, as well as the person who brings everything into their system to communicate directly with it. This is an inner language that does not necessarily have to be shown externally and yet immediately brings the body into a different visibility.
Everything I do is ultimately based on an archaic basis that people carry within themselves. We know the first drawings, cave reliefs, rock paintings and patterns painted or scratched on the skin. People wanted to differentiate themselves, to be recognized, to define their position.
The question of describing a conceptual process is initially based on the finds that I brought back from various trips. My personal experiences not only with people today, but with what I found on the ground or could buy at markets. The experiences of the people who could describe something played a role for me. Sometimes there were family backgrounds, or they knew where to dig up artifacts not far from their house.
In each of these countries I followed my innermost being.
It is not easy to bring an object to the foreground in order to explain my thoughts and techniques. When I design, I am guided by my intuition and a deep knowledge of what lies within me. I know exactly why I use which line, in order to experience historical connections in a lasting visibility in this present time.
A big role is played by when the person will discover their piece, connect with it, feel it energetically. I will come to that later.
At that moment I decided to take a very valuable original, which is based on a historical Egyptian excavation piece: It comes from the 18th Egyptian dynasty, whose hieroglyphs, characters, were translated by an Egyptologist. First of all, it is faience - fired clay, whose green-turquoise, brownish glaze makes my heart beat faster. Excavation beads from the same period made of different materials, whose color tones reflect the energy of the time. I then added the clasp and the spacers, designed to use their sign language.
There was once a person who was immediately attracted. Old images spoke out of her, and a blockage was released. At first she was willing to buy it, but she gave it back. In this case, it had illuminated her. Her greatest wish to become pregnant was fulfilled, and together we were able to release a deep blockage.
By focusing on myself, I have reconnected with this object. I will keep it to transform. I have worn it, it has been worn... only when I am in balance myself can I absorb and give away.
You've spoken passionately about the role of art in healing—both as a creator and for the audience. Could you share a deeply personal experience where creating art served as a cathartic or healing process for you? Furthermore, how do you perceive your audience's reactions to such works, and what do you believe they derive from engaging with your art that aids in their own healing journeys?
There are many deeply personal experiences that I have had through my work. This is not just about body art, but also about my pictures or installations, which make people cry, laugh, be cheerful or thoughtful, and can bring out resistance or even aggression in them. I seem to be transporting something, the viewer's sound disposition is stimulated. Is it about emotions, the breaking down of a protective layer, special, reserved people who are careful not to reveal themselves, but who may still be moved. So one or the other work was purchased for precisely this reason, because the image's appeal never ends, the viewer can always discover something new as it shows itself from their own life perspective.
The wearable art, body art, could release psychological blockages, as well as inflammation on the skin, or I remember a lady in the final stages of her cancer who felt so much joy and peace with a piece. She said to me that if she put her mind to it, the knowledge of physical finiteness would no longer be a problem, it would make her heart so light and light. She was a special, radiant woman.
Another time I received a lock of hair, the first teeth of a deceased child. The mother asked me to make something for her that she could wear on her body so that she could always be in contact with her child and find comfort in it. It worked. My job is not just to carry it out, but I also receive additional information from the spiritual world that I can pass on to the appropriate people. For me, it is a divine gift, a gift that no one has to pay for. In today's world, we find many mediums who take advantage of people's needs for a lot of money and make them believe that there is a solution for everything. My work is about providing help, but the responsibility for this rests with the individual. However, my willingness to get in touch with them does not end there if they turn to me again and need it. Even if something has changed in the work of art, because they have changed, I respond to it and have already redesigned one or two things based on the original.
However, there were and are people who cannot cope with the power. At first they are overwhelmed and want to get involved. One of my last experiences was with a woman with whom I went through a long process. She was given everything she needed as a "tool" ... Psyche, when unstable, can be manipulated from the outside. And so it happened. I was accused of evil. I was sent a package: all gifts from me, the objects came back. I left it unopened for a year. I was calm inside, relaxed, and made inner contact. Nothing could help her except to find her way back to self-love and trust. The need to reconnect with her was not an option ... separation is also part of our lives, and beyond that, letting go.
My personal objects also give me healing, protection and opening. To this day, I have to pay close attention to the signs so that I don't forget humility. I believe that the ability, the talent, to be able to do something is something that cannot be learned. Why is it that I see and feel things that you don't normally see with the naked eye, that you don't smell, that you don't taste, that you don't see, that you don't hear? The subject is so complex.
I described the invisible in the form of a fairy tale; I knew that children who were read fairy tales understood that nothing was just a product of the imagination, but that it was an interwoven reality. It's about symbolism, behind which there is a truth that, if you accept it for yourself, allows us to soar. By that, I mean our soul, our spirit. Our body can recover again and again and stay as healthy as possible. That applies to all generations.
In an era dominated by digital replication and mass media, maintaining individuality can be challenging for artists. How do you ensure that your art remains unique and true to your personal narrative and craftsmanship? Could you discuss a project that exemplifies your commitment to individuality and authenticity in the face of modern production techniques?
For me, maintaining the individuality of an artist is a great challenge, as everything seems to be available in a reproducible form.
I can photograph a picture and have it printed on different surfaces and sizes. And yet it remains an image, the original has its own aura, when you stand in front of it you can feel it. I feel different, observed through the design of the picture, the narrative, perhaps the look of a portrait, the directness. An image can never create that.
Personally, I don't have to do anything, I can post it on media and know full well that I remain unique in the form of the compilation. Why am I so sure? I process the materials, colors, pigments, whatever is brought together, in such a way that it cannot be easily repeated. The same applies to my sculptures or wearable art as object art, my unique books. Bound by hand, often written with a real quill pen, plus the drawings and collages. For me, it's like a dizzying experience - a dream that takes me under the clouds and beyond. I could work on it every day and I know it never ends.
I am sure I am not the only person who feels this way. Why would you copy something like that, recreate it? Yes, trying to incorporate certain elements, trying something out is legitimate. But it will never be the same. I have often invited students, teachers or highly gifted children to use the variety of materials and create something from them - with gentle guidance, never having to copy anything, you can always create something new.
As far as the new technology is concerned, I would be more of a student and would have to learn. I genuinely love the sensual, the direct, being able to touch something, finding out how something works manually. Once you have learned a lot of techniques, you will see how free you can be. Technology can initially draw you in, I admit that. Then I quickly get bored. I can only feel directly with a work of art through a work of art. This also happens in the performing arts, where an excellent film can reach our soul. That’s enough technology for me.
With the ever-evolving landscape of media and its pervasive impact on daily life, how do you feel the current state of media influences your creative expression and the public's perception of art? Are there specific ways you've adapted your artistic expression to either merge with or push against the prevailing media trends?
The current state of the media, which is evolving almost every day and of course has an impact on our daily lives, is not particularly accessible to me. I personally feel this way about the mobile phone. When I see that almost everyone has one of these things in their hands, looks at it, looks for something, communicates less with the person opposite them, even when two people are sitting in a restaurant and should actually be having a good time together and enjoying it, most people are using this device and not paying attention to the other person. I think that as a result we are increasingly losing eye contact, the immediate in front of us and our language is also influenced by it. How am I supposed to express myself in art? Here I think I need a new interpretation of this word. If everything is transferred to a media platform, we shouldn't be surprised if the basic colors of our lives are atrophied. Will there be a new language, a new tone? Will we even be able to hold a pen to write our name? It sounds very garbled, but if we are not careful, that is exactly what will happen.
I advocate developing our own writing style based on the old form, which is natural and shows us who we are! Art, music and sport should never be missing. It serves to promote social understanding in interaction. Voice equals mood. Writing with ink equals writing style that highlights the personality of the writer. Knowing colors, taking them in, gaining them from nature and coming into harmony with nature means life, joy and happiness. I am convinced that we will not gain any of this through the technology of these prevailing media trends.
Despite finding some aspects of technology challenging, you've maintained a presence on platforms like Facebook to engage with your audience. How do you balance the technical difficulties with the benefits of these platforms, and what strategies have you found effective in managing your online presence while staying true to your artistic vision?
When I personally use one part of my technological presence, such as Facebook or Instagram, it is up to me what I want to show about myself and how I can reach people who feel connected to old values!
I show developments in my work, I describe them briefly, I try to make people curious, to take them along on my artistic journey, to invite them, because you can visit me at any time: in real life. This has actually allowed me to meet interesting people; people have asked if one or the other piece was for sale. I was very happy about that, as I was able to be led to a new story through these media without having to be unfaithful to myself. I don't post my work regularly. I will have to deal with it, learn it, want to learn it!
So I continue to follow my impulse of the times, which suits me and keeps me curious.
Your emphasis on connecting with the youth is evident in your work and interactions. How has this commitment influenced your artistic process, and what changes have you observed in your style or approach as a result? What lessons do you aim to impart to the younger generation through your art, and how do you adjust your methods to ensure these messages resonate with them?
The connection with young people and my interactions are considered an important exchange. As long as children are still naive, connected to nature, their individual, inner cycle, they see colors and shapes, and can develop freely. With the extreme technology of the Internet, the equation of thinking, formalization, the latest invention of AI, they are increasingly losing their own voice. My intention is to not abandon their origins, their own responsibility and creativity. I could define that as a lesson to the younger generation, to remind them that they are allowed to implement it freely." In doing so, they develop, speak in design, what they cannot express in words. In this way, I find out more and more about what is happening today and can resonate with them.
That is why play is very important for all generations. They learn not to always have to win, they learn social interaction, let's dress up, slip into a different role, make music together, sing. Let's let ourselves be driven by a stubborn imagination.
This is how individuality can be strengthened, artistic development is an important nourishment for the mind, soul and body.
If a young person thinks he wants to express himself using the technology of a picture on the computer, you shouldn't take it away from him, but rather learn to understand the fascination and technical speed with which pictures can be created. However, this corresponds to a different world that has nothing in common with the direct extension of the arm to the pen. Two worlds, possible at the same time.
Personally, it has never influenced me, because my statement is: "stay true to yourself".
I remain in my own security: only I decide what goes on paper, what language I speak, what I want to convey, and I will never let it be taken away from me!
I recommend that young people generally connect with the older generation, take them seriously, and of course the other way round is a basic requirement of the modern age!
To ask all the questions that are on their minds. The same applies the other way round, because we hardly know the old family structures anymore. Things are drifting further and further apart. New subcultures are emerging that make it difficult to understand each other on all artistic levels. At least getting closer would be a goal.
I can't just speak for myself, because I don't have a problem with that.
Considering your thoughts on the changing concepts of time and the different emotional freedoms experienced by your generation, how do these perspectives influence your artistic themes and the methods you employ? Can you provide examples from your recent works that reflect this nostalgic yet forward-looking approach?
The transition from the topic that arose before is fluid to what I have already expressed. Because I work in such a diverse way, I can think about language through poetry and stories, because I am also allowed to develop artistic freedom. I love reinventing words, presenting them in a pictorial way. The reader should be able to think along with me, so that the ambiguity can be understood. I can only do something like that in my mother tongue, to adapt the subtleties of a word. Recognition releases images.
In view of today's developments, I don't have to change my concepts; what comes in from outside, what can automatically become visible unconsciously, remains a challenge that I appreciate. So I don't have to think about it and am therefore largely emotionally free, and I love the exchange with young artists, who I can leave where they are now. Why should I take on something that I am not? - or them, if it doesn't correspond to their current worldview?
I don't feel like I'm caught up in nostalgia, but rather find it meaningful to remember where we come from and who we are. Humans are highly spiritual beings, if you allow it and connect to the essential, the core of intuition. I love being connected to the younger generation on these topics so that I can learn from them too. This is the only way I can integrate the gradual change of the present without losing myself. I always have a feeling that my techniques don't change. Rather, the objects that I incorporate do. They could visibly show what is today. However, that always depends on the viewer. So there is implicitly no special work that could reflect a so-called future-oriented approach.
But: Changes expressed verbally are described in the book "Light Catcher". A fairy tale from 9 to 99
I believe in an energetic ascension, which we are already in.
Your choice to design a website that diverges from contemporary norms is a bold artistic statement in itself. What motivated this decision, and what are the key messages or experiences you wish to convey through this unconventional online portal? How has the response from your audience shaped your thoughts on the effectiveness of such a platform?
So the transition is again from the inside out, my attempt on my website to integrate what makes me who I am, how I can help other people with my work. Of course there are some readers who react differently to this page because they think that one shouldn't write so much, nobody would read it anyway.
My motivated decision to create this unconventional online portal was to present the diversity of my work, which I have been involved in since childhood.
That has never changed - it just makes it complicated sometimes because I can't concentrate on all resources at the same time.
As long as I am allowed to develop further, new ideas touch me, I am allowed to try them out with and on people, they go with me, I can apply my knowledge. So I don't know what a contemporary norm should be. The idea is very exciting, however, because I am sure that I have never conformed to the norm in one way or another. You can experience all of that when you come into direct contact with my art and me. The moment counts. Therefore, it is contemporary.
Personally, I don't care, because if I'm really interested in something, I want to find out more, then I can check for myself what it does to me and whether it arouses my interest. You can also choose what interests you from the various categories. No one is forced to accept something that they don't want to be or that doesn't connect them.
Now I have to say, though, that I never expect anything, and am occasionally happy when I get a positive response. That way I can talk to people who keep me alive and happy.
Perhaps it's also a selfish approach not to align yourself with what others make of it, what norms have been set. I can't do anything other than what I do, what I feel like, in order to be ever clearer about myself. That's the only way I feel identical! - and timeless!
It's also important to me to present this platform as a personal place so that readers can get a feel for something. Who is behind it? I don't have to hide, if you can read between the lines you understand a lot... I'm interested in global resonances in togetherness. It is clear to me that this wonderful world can only be renewed through the formula: love, respect, without fear, destruction and manipulation.
This is how my work, my art, finds its place.
Having traveled extensively and absorbed diverse cultural influences—from the deserts of Chile to the urban landscapes of Europe—how have these varied environments influenced your artistic vision and output? Could you discuss how specific locations have inspired particular artworks or series, and the process of integrating these influences into your creative practice?
Traveling and its cultural influences have always been reflected in my work. I was able to incorporate found objects into portable art: old ceramic and glass shards, bones, pearls, wall remains, mosaic stones, fabrics, various types of wood, remains of statues, etc. Whatever the ground sometimes threw at me, I took with me as a gift, and many of these found objects were also used not only in object art, but also in pictures. I found it exciting how the lines and colors of the works differed. I remember when I went on a trip to Algeria, we spent a few days in the desert, and we were told beforehand that we were not allowed to collect sand to take out of the country. So I had an idea. I put desert sand on the paper, as well as fine grasses or old fabrics, and portrayed the people I was able to spend some time with. I can still feel it today, a lightness, a happiness, a tenderness and at the same time an immense power, how people lived together with nature. Since it was a few years ago, a lot will have changed; lakes, whose water is essential to life, have certainly dried up by now. A thought, an image that makes me unhappy, because these old cultures are being wiped out. They were wise, straightforward people. I felt at home with them - as I did in other countries; I spent some time there, my soul was integrated. I felt at home. An example: I was allowed to embroider a large blanket with Bedouin women, a collaborative work.
Or in Korea I was dressed in traditional clothing, immediately felt comfortable, different, but not unknown. This form of energy was then reflected in a performance with the traditional drums. I feel a mystery, this ability to integrate really exists within myself. Added to this is my feeling that I love them and am very happy that I have always been shown so much friendship and closeness.
What amazes me when I look at my “old pictures” is that they are so timeless.
They seem to speak, to look at you, to open up a cosmos to you, to make you think without having to understand it, to make you feel addressed.
As you look towards the future, are there new artistic themes or experimental techniques you are eager to explore? How do you envision these endeavors influencing your overall artistic journey, and what are your aspirations for your work in the coming years?
Look into the future - what kind of opportunity we would have to manifest it at least with our wishes. And yes, I actually have several visions. I would like to hold seminars in small groups in the future. I would like to use the original sound to unlock energies that are still buried today, invite them into consciousness and heal them. I would like to use the voice and movement with my energetic help to create contact in order to be able to feel new, to then be able to take free responsibility for oneself and continue to follow the chosen path.
Another approach would then be to put what you feel on paper: with colors or found objects, materials.
from your personal area. I have tried similar things for years and in the end these people went home happy.
Since I really enjoy working with clay, porcelain, paper, glass, etc., I would like to try my hand at columns again that consist of several parts and can be put together in different ways. How I fire and what I add are experiments that I have already tried out with smaller objects. The joy of a result and the surprise of what comes out of the firing, what is possible or impossible without it, becomes apparent during the creative period. An adventure that I am happy to embark on.
My third vision is that I would find someone who understands my art and could handle the commercial side for me. That is something that has changed dramatically - I am still in my infancy. I have created so much in the course of my life, exciting things that I would have to rediscover myself. How nice would it be to find a younger person who sees it as their job to get the objects to the right places and handle the administration that goes with it. I get enough requests, but it has all become too difficult for me, time-consuming, expensive...
Artists no longer work with galleries like they used to in my time. There was something familial about it. As an artist I could work freely. The gallery owner took care of all the things. The works were always represented in the gallery and every two years there was a solo exhibition. The gallery owner really tried to ensure that the works were understood by visitors and customers and could also be purchased with pleasure.
We all know that this industry has become very commercialized, and that artists have to pay for almost everything themselves. And then there are the large fees to the galleries. What is left at the end? And who can afford that? I don't want to say what I think about that here, although that is part of art, namely marketing. Art is first and foremost for the soul. It is not easy to have to sell yourself with the new form of commerce.
Most artists are influenced by it because they want to be successful and of course have to make a living from it. It was never any different for me, but I have never let it influence me. Instead I tell myself that if the conditions seem so impossible and art does not fulfill its value, I don't have to be involved. This still helps me to maintain my self-esteem so that I don't have to sell my soul. The quality of the work, not to be concerned with commercialism, is one of the most important undertakings in art. That doesn't mean that I'm indifferent, quite the opposite. It's the most beautiful thing when the work is seen, comes close to a viewer and is ultimately purchased.
Detached from the person who created it.
So I'm glad that after decades of work, the law of word of mouth still exists. This means I can enjoy individual visitors. That makes me happy and grateful.
As long as I can travel, I will do that, and in the future I will want to live "art in residence" again. There is so much more. I let myself be guided, give myself the space.
To the first question
a short bio:
Autobiography
I described myself from the outside
"PHILINE" - part of her first name, serves as her artist name, stands for her lived, applied, free, performing art without restrictions.
Her style is recognizable through form and color, never subject to the mainstream, she paints, shapes different materials, as well as her language,
which serves poetry, descriptions, stories or fairy tales can be found... Hence these object books.
Never a repetition, which is why she also loves performance... a moment in infinite space.
In addition, object art/wearable art continues to serve a healing aspect. Much can be discovered in detail, she loves interaction.