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Journalistin aus Leidenschaft, Tierschützerin mit Hingabe und neugierig auf das Leben. Ich stelle Fragen. Ich suche Antworten. Und ab und zu möchte ich die Welt ein Stückweit besser machen ... Manchmal gelingt es!

Wax Artist Frédérique Stref, Singapore

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I met Frédérique Stref in Thailand. We were both in the same idyllic retreat and she told me about her life in Singapore. After a certain while we talked about our work and our passions. She loves creating wax paintings. Wax with different colours. I never heard of this technique before. I was really surprised when she showed me photos of her art. Something special, came in my mind. And perfect for sl4artglobal.Pulse

May I introduce you: The French artist Frédérique Stref.

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She was born in 1967 in Nancy, the French capital of Art Nouveau. Thanks to her father, she grew up in an artistic environment and was exposed to several art techniques, among which was the kiln casting technique known as pâte de verre. Throughout her youth, her father would regularly visit the family at the French Riviera, drawing inspiration from the incomparable colour shades and light of this sunny region.

Aventurine wax on wood 84x64

In 1996, Fédérique moved to Brussels, where she trained as a Spa and massage therapist. In the Belgian capital she was, once more, surrounded by remarkable Art Nouveau architecture. Shortly after she would settle in Copenhagen and then in Den Haag. Both the organic lines of Art Nouveau and the elegant lines of Danish and Dutch design bore a strong influence on her art. While she was living in the Netherlands, Frédérique stumbled upon artworks made with encaustic in an art gallery in Amsterdam.

Stromboli wax on wood 60 x60

The sensuous texture of the medium struck a chord with her, bringing back to her memory the endearing translucency of the glass sculptures that her father used to create in his workshop. The artist immediately sensed that the texture and radiance of encaustic suited her sensory nature, thereby enabling her to closely render her deepest feelings.I know. Dyptic. wax on wood 2x(84x64)

In 2009 Frédérique moved to Asia. In Hong Kong, she came across the work of Indian – American artist Natvar Bhavsar. Together with Mark Rothko, whose ability to express profound emotion through colour left a deep impression on her several years earlier in London, the sensual resonance of Natvar Bhavsar’ paintings planted the seed of her own art practice. The artist who, back in 1998, had discovered by serendipity the fragrant and malleable medium of encaustic, had now found her source of inspiration in the yearning for transcendence and the infinite rendered in the work of Colour Field masters.Beyond-2

With a clear idea of what she was aiming at in her own art practice, Frédérique started looking for an encaustic master. She found him in the person of Gary Simmons, who lived in the French Riviera. The artist traveled back to this much-loved region, eager to start a new chapter in her life. Simmons’ decades of experience with wax and encaustic technique gave Frédérique a firm foundation upon which she started developing her own artistic search.

Contact Mobile:
Singapore   + 65  9235 8047
Hong Kong + 852 9681 7372

Contact E-Mail:
f.stref@yahoo.fr

New Website Launch is coming soon.Oud, l'instant. Wax on wood. 84 x 64

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Giuseppe Ragazzini: An approach

_Guarda a sinistra!_, mixed media on paper, 2006, 27x35 cm (Large)

Exhibition:

GIUSEPPE RAGAZZINI: INCONTRI GROTTESCHI

MORI Gallery
29 November 2018 – 19 January 2019
Vicolo del Vescovado 5/A, Parma, Italy

_Bus_, 108,3x77 cm., 2009, Giuseppe Ragazzini (Large)

By guest author Clare Ann Matz

Painter, set designer, and visual artist Giuseppe Ragazzini was born in London in 1978.

After earning a degree in Philosophy, he became fascinated by the vision of Henri-Georges Clouzot’s documentary Le Mystère Picasso, and in 2002 he began using digital techniques to film the creative process of producing the pictorial image.

Dedicated to both painting and pictorial animation, Ragazzini has developed his own technique for pictorial animation and digital set design, which makes use of huge videoprojections and „mapping“.

Vanoni Servillo, _Le Canzoni della Mala_6 (Large)

In his work, the image becomes subject to an incessant transformation from the permanence of its preceding elements – a flux, a digital collage of elements continuously superimposing over themselves.

His set designs and projections have been displayed across Europe in theaters including Milan’s Piccolo Teatro Strehler and Venice’s Teatro La Fenice.  His animations have been featured in several of the main international animation festivals, including International Trickfilm Festival of Stuttgart, Anima Mundi, International Animation Festival of Brazil, Ottawa International Animation Festival (OIAF), International Festival of Erotic Animation (FIAE), Festival Internazionale at the Palazzo Venezia in Rome, and Visionaria International Festival.new york philharmonic-giuseppe ragazzini-dolce vita (Large)

In september 2014 he realized the video set design for the opening gala of the New York Philharmonic Orchestra at Lincoln Center. In July 2015 „La Dolce Vita, the music of Italian cinema“ was put on stage at the 58. Spoleto Festival. He has also produced videos and set designs for famous Italian musicians such as Avion Travel, Paolo Conte, Vinicio Capossela, Lucio Dalla, Gianna Nannini and Ornella Vanoni.

_Uomo con bambino_, (detail), 2014, mixed media on paper, 70x100 cm (Large)_uomo seduto su poltrona_, 2014 tecnica mista su carta, 70x100 (Large)From _The crumpled series_, 2016 (Large)

Ragazzini’s paintings and illustrations have been displayed in international exhibitions, collections, galleries, books, and periodicals, and he collaborates with the newspapers La Repubblica and Le Monde. Giuseppe Ragazzini is the son of the Italian photographer Enzo Ragazzini.

He lives and works in Milan.

ingranaggi facce (Large)

Clare Matz‘ Interview with the artist:

In which ways has the rich artistic heritage from Italy and Europe influenced your creative language?

My work, especially when I use the collage technique, is largely influenced above all by the Renaissance and Flemish painting. I like to think that this is partly due to my origins, half Italian and half Dutch. These inspirations and suggestions are declined in an imaginary that largely takes inspiration from the reality of our everyday life. Just think of my series „Mysterious Routine“, a series of characters sitting inside a modern bus, made using pieces of Renaissance paintings.

Who/What have been your mentors/teachers?

I am self-taught, which in part I think has saved me from the risks of the „academy“ and the risk of losing the signs and the language I was lucky enough to find myself naturally with since I was young. I am grateful, however, to my parents who were able to recognize and support this pre-disposition without forcing upon it.

My father Enzo in particular (an internationally renowned photographer) was and still is an artistic and moral model for me, a great teacher, an inspiration, as well as a friend and a travel companion from whom I have learned a lot about the shape, the sign and the freedom of artistic experimentation.

From the theatre to television and animation films to the printed page; from pop music, to classical music and more. How do you approach the projects in such different „ambients“? Is there a media you prefer working with? If so why?

My language tends continuously to contamination. The various „drifts“ I have undertaken over the years have all been natural evolutions of a journey begun with traditional painting. Initially I started using digital technologies to summarize the creative process in its development. A technique that I call „pictorial metamorphosis“ was born when my father showed me the documentary: The mystery of Picasso.

The pictorial animation arrived only later, when I felt the need to „animate“ my characters, my paintings and my collages. My pictorial animation and my video scenography is mostly my pictorial works and moving collages. There is no particular field I prefer, the only criterion is the freedom I enjoy in these situations. Obviously, the more I am free from various conditions, the happier I am and I think this always affects the result obtained.

What advantages have the new electronic technologies brought on for creative mutimedia artists like you?

My relationship with the digital world is very strong, although always starting from an analogical base. I believe that in many ways this is an unhappy era for contemporary art, where bluffs abound and often the excess or the end is found to be „an end for the sake of it“. However, I must admit that being born in the digital age was a great fortune for me: I was able to experiment with technologies that did not exist or had exorbitant costs until a few years ago. Just think of pictorial animation or collage or video projections. I believe that the fact of living in this time is the face of my art and my research in the digital and interactive media, a sort of small link between tradition and modernity.

l'acqua non è blu alta hd (Large)

You have created a marvellously interactive app named Mixerpiece. Why did you make it and how did you develop it?

Mixerpiece was born as a creative and educational application able to bring children closer to contemporary art. For years I had this project in mind and the opportunity came after a large permanent installation that I made in the waiting room of the Meyer Pediatric Hospital in Florence, where I also designed an app for hospital children. On that occasion I finally approached the world of teaching and applications and then I finally managed to realize my project.

However, Mixerpiece is not just a children’s app, but it is also a powerful creative tool for adults and even professionals: it is a sort of digital magnetic board with a series of elements, collected in categories, that can be combined to create new collages with infinite and very surprising creative possibilities. The peculiarity is that all these elements are extrapolated from famous masterpieces of art of all the centuries.

If you make ‚long tap‘ on an element you open a card that shows the work from which the piece has been extrapolated and some insights. Creatively speaking the most exciting feature is the ability to change your collage by shaking the iPad, which automatically creates new combinations of pieces starting from the outline of the first illustration created.

What are you presenting at the Mori Gallery in Parma, Italy?

There will be various works on exhibition, from my digital collages, drawings, ceramics to some works that I would call sculptural. The exhibition will end with the screening of my video The Kiss, a passionate kiss collage (made using 60 collages composed of pieces of work by great masters of the Renaissance), a metaphor for the ambiguity and mutability of Eros and human sexuality.

Giuseppe Ragazzini kiss frames copia (Large)

The project presented is an evolution of the theme of the grotesque and the newspaper, a theme dear to me. I like to talk, sometimes even in a rather brutal and disquieting way, of what surrounds us.

I believe it can be defined a work on identity and its grotesque manifestations, a changing identity consisting of endless fragments in constant change. I would like to thank Virginio Mori and Giorgia Ori (curator) for this opportunity to show my latest work.

What other projects are you currently working on?

I’m working on a video set design for a play by Lucia Poli directed by Angelo Bruno Savelli and I’m working on a pictorial video mapping project for a table.

At the same time I’m planning a „Pro“ edition of my ‚Mixerpiece‘ application and I am carrying  on  with my work as an illustrator, collaborating regularly with some newspapers including Le Monde.

Thank you.

L'Illusionista, Teatro dei Rinnovati, Siena (Large)

 

 

Capsula Mundi, Milan

A new approach to Death by guest author Clare Ann Matz.

Death … Leonardo da Vinci once said: „While I thought that I was learning how to live, I have been learning how to die.“

Every culture in the world has some concept of life after death. How are you preparing for your rite of passage?

I love you Grampa (Large)

The Capsula Mundi project wants to spur on a reflection on how our society deals with this important moment of life. There is no gloominess, no deprivation, no decay looking at death as a biological phenomenon: Our body keeps on producing elements through natural transformations, therefore it’s still living, feeding another life.

Capsula Mundi 4 (Large)

This project originates from a thought about the role of designers in our society, in the context of an international exhibition about innovation and avant-garde furniture design, the „Salone del Mobile“ in Milan; in 2003 Capsula Mundi was presented. Since then it has excited much interest from all over the world, with articles and interviews on the worldwide media, exhibitions and the support of so many people (more than 32.000 Likes on Facebook) .

It was created and presented by two designers: Anna Citelli and Raoul Bretzel who created the project to revise the ongoing burial practices and to change people’s approach to death, while respecting nature.

Capsula Mundi 2 (Large)

In 2015 they also presented Capsula Mundi on the stage of the „TEDx“ in Turin, Italy, and in September 2016 it was exhibited at the „Przemiany Festival“ in Poland, an annual event which combines art, science and philosophy with the aim of discussing how scientific and technological advances change our everyday lives and mould the future.

Capsula Mundi was presented in New Zealand as well, in occasion of the worldwide event „Italian Design Day“ in February 2017 and in April 2017 it was also shown at the 56th edition of the „Salone del Mobile“ in Milan, Italy, celebrating the success of the SaloneSatellite with an anthological exhibition.

containerstudio-capsulamundi-cartoline (Large)

Artwork curated by Containerstudio (www.containerstudio.it)

The project has two key points: The use of design to create an evocative and symbolic object which could change the approach to death, and the respect of nature. Capsula Mundi is an egg-shaped container, made of biodegradable material, where the ashes are placed or the remains are laid down in a foetal position. The ancient shape of the egg, the tree which connects earth and sky, the biological transformation of natural substances are all symbols of life, non-religious and universal.

Capsula Mundi Urn_tree 3 (Large)

The pod is buried as a seed in the earth. A tree, chosen in life by the deceased, is planted on top of it, as a legacy for the posterity and the future of our planet. Family and friends look after it. The aim is to have forests instead of gravestones cemeteries.

Schwarzwald_Berlin www.danielbelet.ch (Large)

Landes_PereLachaise www.danielbelet.ch (Large)

Photo copyrights: Daniel Belet (www.danielbelet.ch)

The cemetery will take on a new look, no more dark stones but living trees in a holy forest. The trees will be mapped with the GPS system, so people will be able to find the tree of the beloved. Green burials are the future: It would change our approach to death and give a contribution to save the planet.

containerstudio-capsulamundi-brochure (Large)

Brochure curated by Containerstudio (www.containerstudio.it)

More information on the project:

www.capsulamundi.it

infocapsulamundi@capsulamundi.it

 

 

 

 

 

Artist colony Ahrenshoop, Baltic Sea

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Recently I visited this wonderful small fairy tale place at Germany’s Northern coastline. I felt like stepping into a painting.

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Studios invite to view their exhibitions.

In 1892 painters founded the artists‘ colony of Ahrenshoop. Painters like Anna Gerresheim, Paul Müller-Kaempff and others built their houses in the small village by the sea. They invited other artists to come to Ahrenshoop and established a flourishing art scene which is still alive. Hundreds of renowned artists of almost all important movements of modern German art visited the small seaside town. They reflected the village and its surrounding in their works of art.

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Today Ahrenshoop established an artist way with different stops. At every sight you can compare the artist painting with the view you have now. It is so interesting, especially for an art lover like me. It brings you to a long lost world and you can explore how painters worked in former times and which perspectives of the motives they had.

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Throughout the year, the artists‘ colony of Ahrenshoop offers a wide range of options: The exhibition centres display art from the beginnings of the artists‘ colony through to the present day. From paintings and drawings as well as sculptural works and photography, you will find everything here. Small studios and workshops invite you to view their traditional handicrafts and to join in and get creative. Concerts, lectures, film nights, exhibition openings, tours and much more – there is something to enjoy at any time of year.

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The Kunstmuseum Ahrenshoop is worth a visit.

Kunstmuseum Ahrenshoop is a museum dedicated to the artists‘ colony. A collection of 900 works represents artists and genres to the present day. A permanent exhibition shows works of the colony’s founders. They created excellent paintings of landscapes, portraits and interiors. Regularly changing exhibitions are dedicated to classical modernism, art from East Germany and contemporary artists connected.

The unique light on the narrow strip of land between the Baltic Sea and the Bodden displays nature in all of its radiance. Whenever you are in the region go to Ahrenshoop. It is a magical place.

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The Kahlo/Rivera poems

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„Never in life will I forget your presence. You found me torn apart and you took me back full and complete.“

Frida Kahlo

 

Touching, inspiring and lovable: The poems in the Blue House in Coyoacán.

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