Stef Heidhues
08 Sep - 19 Oct 2012
© Stef Heidhues
Protectors Cawa 07, Cawa 10, Cawa 14 and Cawa 05, 2012
Ceramic,
each appr. 24 x 14 x 8 cm
Photo: Veit Landwehr
Protectors Cawa 07, Cawa 10, Cawa 14 and Cawa 05, 2012
Ceramic,
each appr. 24 x 14 x 8 cm
Photo: Veit Landwehr
STEF HEIDHUES
Come As We Are
8 September - 19 October 2012
Enthralling ambiguities characterize the work of Stef Heidhues (*1975/Washington, DC), which is inspired by her everyday environment and surroundings, from which it also derives its often ›poor‹ material. By accentuating the aesthetic of the material and using it in ways that contradict the final object, she reveals something in between the familiar and the unknown that defies a clear definition and evokes manifold connotations. Stef Heidhues creates works whose content and form are full of antagonisms, and in so doing questioning and shifting commonly held meanings. The artist keeps this ambivalence in play – her works are simultaneously reminiscent of familiar objects but also of complex arrangements. They are confusing yet captivating, utilizing graceful lines and spatial compositions. Conceptions of identity are the leitmotif of the exhibition. Flags made of bicycle chains occupy the space and knee-protectors made out of grey ceramics are presented on the wall, like African masks. The title »Come As We Are« alludes to an appointment, a meeting. Without disclosing whom or what is to be met. Is it the art works? Or our inner self?
Come As We Are
8 September - 19 October 2012
Enthralling ambiguities characterize the work of Stef Heidhues (*1975/Washington, DC), which is inspired by her everyday environment and surroundings, from which it also derives its often ›poor‹ material. By accentuating the aesthetic of the material and using it in ways that contradict the final object, she reveals something in between the familiar and the unknown that defies a clear definition and evokes manifold connotations. Stef Heidhues creates works whose content and form are full of antagonisms, and in so doing questioning and shifting commonly held meanings. The artist keeps this ambivalence in play – her works are simultaneously reminiscent of familiar objects but also of complex arrangements. They are confusing yet captivating, utilizing graceful lines and spatial compositions. Conceptions of identity are the leitmotif of the exhibition. Flags made of bicycle chains occupy the space and knee-protectors made out of grey ceramics are presented on the wall, like African masks. The title »Come As We Are« alludes to an appointment, a meeting. Without disclosing whom or what is to be met. Is it the art works? Or our inner self?