What Kine of Wood Was Ues to Bild the Art

Originally, wood was not but used as fuel, dishes and storage containers, but too as building material and for ritual acts. Today, wood is still an integral function of our everyday life and is used for endless purposes. This may be due to the fact that the wood obtained from the different tree species carries and maintains the characteristics of the respective tree. For case, a distinction is made between coniferous and deciduous woods. The value of the wood is measured by its force or hardness, so that a suitable wood tin be selected for every purpose. If the characteristics of wood are very broadly defined, then exotic tree or grass species can besides be mentioned hither that form a solid, stable and workable trunk or stalk. These include, palm forest and some types of grasses that abound to great heights and take very good stability and so that houses and other structures can be made of information technology, due east.1000. bamboo.

Another important aspect of woods is its sustainability. Wood is a regenerative, self-replenishing, raw material, which means it plays a major role as a renewable energy source.
Generally speaking, forest and the products made from it are biodegradable, (although present attempts are being fabricated to avert this through chemic handling). Wood tin can also be processed into paper or cellulose fibres, which are used in the chemical industry or for special textiles. Furthermore, forest can exist used as a sound carrier in the structure of musical instruments or, equally a damping material for the reduction of mechanical vibrations.

Wood as material in fine art

In the history of flesh, woods is ane of the materials that was used very early. This includes items such as tools and dinnerware made of forest. In afterward times, in Western culture, works of fine art made of wood were replaced by works fabricated of stone and metallic (peculiarly gilt), which were considered to be more than noble and valuable materials. These materials, and the works of art, had greater hardness and thus durability. In some cases, existing works of art made of forest were replaced by a similar design fabricated of other materials. This caused wood to be devalued in the art canon. In Eastern cultures, on the other hand, the transience of the cloth is a positive aspect, which, through the constant redesign of the object, acquires a value or cultic status and thus an upgrade. ^one

An important connectedness between the material wood and the (Cosmic) Church still exists today. The wooden cross is one of the most widespread symbols of the Christian church building and without the reference to wood information technology is less pregnant. Portraits of saints were painted on wooden panels, (or on wooden boards covered with cloth), at that place was the custom of votive offerings, which were often depicted on wood, and many 3-dimensional portraits of saints are also made of wood. ²

In the visual arts, wood was a common fabric in the sculptural field until it was replaced in the 18th century by materials now considered classical, such as marble or bronze. A reintroduction of wood equally a material in fine art has been taking place since Primitivism. This was partly influenced past folk fine art or exotic styles in its choice of material and in the development of ideas. ³

The cloth was farther enhanced by its immediacy. Be it through the self-acting arroyo of the artists who worked directly with the material and wanted to leave visible traces of processing, or through its unproblematic workability, paired with a broad range of colours and structures. The inexpensive procurement of the material also contributed to its more frequent use in the times of Cubism and Constructivism. ⁴

In the seventies, at that place was a strong focus on textile itself in art, which was benign to woods. The focus was on the pattern of surfaces and the elaboration of woods's structures. Subsequently, prefabricated and partially industrially processed wood was used more in art. A use of woods in its original grade was also established. In Land Art, for example, the raw material is left in its original state and is often built into a work of art on the spot. The idea is that the natural state of the fabric, in this example wood, should non only remain visible, only in most cases it is also a connection to a topic that is characterized by environmental, the appropriation and destruction of nature and the environs surrounding usa and the idea of sustainability. The artists who bargain with this upshot, in connectedness with the natural materials they utilise, strongly emphasize their disquisitional attitude towards these ideas. ⁵

Sculpture network introduces five artists who create exciting and modernistic works of art with and from woods. What these works of art have in mutual is that they relate not only to the chosen material, merely also thematically to nature and the surroundings and man's relationship to them.

„Wooden Ark", 2018

forest, stone, natural materials

300 cm x 250 cm x 800 cm
Copyright: Seregel

With his work "Wooden Ark", the artist çhakal thematizes the use and overloading of nature by human. His wooden work is congenital like a gunkhole, or an ark, constructed with branches and twigs, making information technology appear fragile and breakable. The sculpture seems dangerously overloaded by the large erratic cake which is located inside the ark and symbolizes the great mass of demands we make on nature through leisure, sport and using it equally a source of nutrient and building materials. These fragile boats stand for our world and nature and illustrate the overtaxing of them by man in an splendid way. For these works of art, the artist takes components from nature, but after a certain time these components render to the surround and are reabsorbed in it in the natural wheel, which was only briefly stopped and interrupted past the artistic work. The menses of old woods, which becomes humus again, is preserved and begins anew. With his work, the creative person reflects social club, which, with its consensus of always more and ever faster, is dangerously shaking or even toppling over the ground of our survival.

„Once upon a time…I, Two", 2019,
wood, iron, photography on textile

60cm x 120 cm x 266 cm
Copyright: Tamara Jacquin

The work "One time upon a time...I,Two" by Tamara Jacquin consists of a wood and iron construction, on which a forest is depicted on a natural cotton canvas. This photo of the forest is divided into individual sections, which are then sewn together. The depicted forest appears low-cal and sun-drenched, it is a weightless epitome of a dream— In other words, the reverse of our highly technological and agronomical country, which also includes the forest landscape. This forest is about not-existent in our modern times, since human intervention has turned the original state of a primeval forest into a shaped and partly standardized landscape, which is determined by human use. With her work "Once upon a fourth dimension...I,Two" the creative person Tamara Jacquin exemplifies the dismay at the destruction of natural ecosystems and what is happening to this planet today. The work reflects a dream image and at the same fourth dimension evokes a retentiveness image that may become reality in the near future, if the destruction of the globe continues at the same charge per unit.

„Two Worlds", 2011, olive forest,

370 cm x 170 cm 10 150 cm,

Copyright: Mirek Struzik (individual collection)

With his artwork "2 Worlds" the creative person Mirek Struzik works out the contrast between pure perfection and natural appearance or growth. He worked with olive wood, which has a very rich grain and construction. This construction was left in the middle office of the stele in its natural growth course and merely the heartwood was worked out and smoothed from its original form. This natural shape of the tree is transformed in the upper and lower part of the stele into a straight, perfect shape of a machine-sawn beam of olive woods. The strong difference between a natural, unaltered growth form and a machine-cut course of the other two parts in the same sculpture, makes it clear that many trees and tree species accept a stronger organic growth management, which is non ever suitable for working and further use by homo. "Ii Worlds" reflects the difference between nature, which includes wood and other materials, and a shaped and standardized world. Man, in turn, often tries to bring nature into a standardized, perfect form. The striving for perfection and uniformity is expressed in an exemplary manner by the stele rising up and therefore also stands for a order that increasingly excludes the originally different, or the natural and strives for standardisation.

The artwork "Heart of Gold" past Karin van der Molen represents a boat conveying a treasure through the sky. The bamboo boat plays with the Chinese symbol for wealth, the gold asset, which as well stands for prosperity. With this work, however, the artist thematizes a dissimilar, immaterial wealth. For her, the prosperity of a society can also be measured differently, non just in terms of money or luxurious things. The wealth that is symbolically represented here refers to the presence of clean air, the variety of available colours and salubrious woods soil, as well as the multitude of different copse and plants, wild fauna and a myriad of insects. The artist Karin van der Molen addresses here the treasure of the network of life in which everything is continued. The protection of an intact network and groovy biodiversity for individual species is not only important for their survival, just also for us humans. When the viewer slips into the sculpture and is shielded by it, he experiences a further enrichment of the senses through the silence surrounding him. Symbolically, this sculpture re-connects man with his environs, points out the importance of an intact nature and allows the viewer to feel it.

„Eichenkeimlinge", 2016, oak forest
per bulb approx. 1000 ten 150 x 150 cm

(vii pieces as one installation, Location Lemgo)
Copyright: Jürgen Brinkmann

The creative person duo Frank Nordiek and Wolfgang Buntrock have focused on the process of illustrating natural processes and a passage of time in their piece of work "Eichenkeimlinge" (oak seedlings). The work consists of seven private sculptures made of oak wood, arranged in a loose grouping in a park landscape, which appears to have grown. Each of these individual objects was created from the core piece of a bedraggled and fallen oak tree. The two artists rejuvenated their work process and created larger-than-life forms that are modelled on the germ buds of oak copse. The individual growth of the trees is taken into account and the stable core is peeled out. In addition, a young oak tree is planted next to each sculpture, which was grown from the last seeds of the fallen trees. The bicycle of dying and regrowth is illustrated and the passing of time is thematized. The bulb sculptures human activity equally placeholders while the newly planted oaks abound into ever larger trees. During this time the sculptures continue to weather condition and decay. With their work "Oak Seedlings", the artist duo Nordiek and Buntrock have created a group of sculptures that continues to modify with the passage of time and will never be completely "finished". Reflection on nature and its human being shaping is an essential part of their work, just every bit the theme of change and further evolution is inscribed in the work.

Farther Information:

Comprehend artwork: Karin van der Molen, „Middle of Gold", 2018, Bambus, 250 cm 10 350 cm ten 175 cm, Copyright: Karin van der Molen

References:

1 Wagner, Monika: Lexicon of artistic material. Materials of modern art from waste to tin. Publisher H. C. Beck Munich. Munich, Germany. 2002. South. 145 - 152.

2 Ibid.

3 ibid.

4 Ibid.

five Ibid.

Writer: Dr. Eva Daxl

Eva Daxl studied art with a focus on sculpture. In her PhD thesis she wrote about ceramic materials in art criticism. She is therefore familiar with three-dimensional works of art in theory and practice.

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Source: https://sculpture-network.org/en/magazine/Wood-a-material-for-old-and-new

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