Water creatures and the spirit world

Water creatures and the spirit world

 

Norbert neugebauer

The leipzig artist duo claudia biehne and stefan passig put a thick exclamation mark under the work stays and the exhibitions connected with it in the maxhaus in nordhalben.

Claudia biehne turns newspaper into sausages, rustling loudly, and forms meter-high objects, spherical, pear-shaped or mushroom-shaped, with it and with parcel tape. "Basic forms for later?"Asks the visitor. "No, volume for what can become," answers the spirited leipzig artist.

Beyond the usual mab

Together with her partner stefan passig, she worked in the maxhaus in nordhalben, giving herself the inspiration for coarser three-dimensional works that go beyond her usual mab. "Liberating, without regimentation," she says with a laugh, because otherwise the coarseness of the kiln dictates the maximum. They are organic forms at first, bleeding or buds, perhaps, but they may mature into other results. "It could also be a trial run for the future," she comments.

In the same way, her porcelain sculptures often start from a single basic idea. The rest develops; the ceramic work is followed by the application of color and usually several firings. In between, she complements the work with other colors and often ceramic chips that give the final product an intense haptics. The wall panels, partly arranged as a ta-bleau, also have a relief character. Some of the sculptures are pure white, gossamer tubes and filigree structures in the garniture show the mastery of craftsmanship in handling the very special porcelain work material.

A cross section

Fortunately, the well-traveled artist couple took an interesting cross-section of their current work with them to nordhalben, and this was on display as a mobile exhibition in the workroom of the nordhalben artist domicile. The internationally renowned artist leaves it up to the viewer to interpret the works. Affinities to water creatures, many-armed, prehistoric shells and coral blocks, but also maritime sceneries are obvious. In the meantime, these and other objects have found their way into numerous exhibitions and various museums around the world. Biehne was allowed to exhibit at the rough art biennale in venice and other renowned art events. She is also represented in the glass museum in rodental. The crowning achievement so far was the invitation to the ceramic-festival in mino, japan, with the completely surprising win of the jury prize. The artist has her studio in the famous leipziger spinnerei, which is known worldwide as a hotspot of the new german art landscape.

Since 2007, she has been able to keep her mind free for her work thanks to her collaboration with stefan passig, who is also her life partner. He takes care of the entire organization and marketing, as well as the media presentation of the work. The studied photographer's own artistic ambitions have since been put on hold. In his earlier project "nah-distanz" he burned his wings, he explains.

But with the work carriers in the familiar art business and the exhibition journeys obviously also the lust at the photographic creation and the creativity returned. So he looked for special places in nordhalben, in front of or in which he staged the work of his partner.

Some previously private photographs completed the object show in the kunstlerhaus, which can only be recognized as real, unedited photos at second glance. The ephemeral appears even more clearly and sometimes dramatically when passig opens his "ghost portfolio. Faces, often only outlined or rudimentary to the point of almost complete dissolution, which he has photographed in a special place – the dead island of venice.

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