‘A time & a place’ work by Ann-Margreth Bohl about artist residencies.
Starting 17th January 2015
Ann-Margreth is a german born artist working predominantly with natural materials stone, beeswax, graphite, string, leather etc.
Through the process of making, utilising inherent qualities of the chosen materials, she explored in both residencies the physical boundaries of a architectural space, resulting in the exhibited graphite wall rubbings ‘Ceasura 1&2’.
With her most recent piece ‘Lichtspielhaus’ (old fashioned german for cinema) she is introducing light and space into her work.
The artist grew up near the border between East and West Germany, the image of ‘die Mauer’ (the Berlin wall) is often revisited in her work, trying to look at the questions why we build walls and what effect walls have on us.
‘Lichtspielhaus’ is going beyond a wall creating a space for us to go.
This work was conceived during her residency in a pillbox in Stanton St Bernard near Marlborough in Whiltshire, a solid concrete structure for english soldiers to observe and anticipate the german enemy from.
The beeswax used in this installation comes from Germany, the artist is mindful of this and of the effort that bees have put into this material that they use to store their food and protect their young.
Preparing for ‘a time & a place’, exhibition at New Brewery Arts, Cirencester, PV, 17th January, 11.30am
…so I want to work with light and shadow, freely available every day and night but how can a material highlight certain qualities of it and which once do I want to highlight? When using graphite I noticed that even though the marks are dark, the silvery metallic shine can dominate, confuse (first image)…covered with tracing paper subtleness moves in (second image). Once this drawing was complete I realised I mixed many things together (reflection, projection, light, shadow) separating the different aspects out to clarify is the way to go…perhaps…
My fascination with fire led me to try my hand on bronze casting, I could never quite understand it when explained to me, I had to see it for myself. Soon understanding that indeed a lengthy and complicated process lies behind the ancient fascination to preserve form with precious metal. I went with the aim to understand the process which I gained a glimpse of. The two most impressive aspects for me, the ‘runners and risers’ a circulation system attached to the original or model to let the molten metal run freely into the mould and for the air to escape…much like the circulation system of our body. This as well as the melting of metal followed by the pouring, the colour change as the bronze cooled down in temperature, multicoloured process on many levels…
Making moulds, it went well days ago, but this time it seemed not straight forward when all of a sudden two pints of plaster poured out of my constructed frame, gritting my teeth the damage was cleared away and I discovered today that the moulds are fine, even removing the models intact. It is a strange sensation to see the negativ shape of a form, a shadow…it is a completely different process to carving a form, so instant, so effortless (despite the mentioned accident), space that has no matter but form..