Symbol of the Encounter
This symbol stands for the encounter of Indian artists with European artists – It is simultaneously the result of a “cooperation” of Jereldine Redcorn (Caddo – Native American) and Roland Schneeweiss (ethnic German from Bulgaria)
Roland Schneeweiss had always been positively and happily in his „universe“, the studio on the meadow – after our experiences. There, all of us have met often and, in atmosphere eased very much, did work together something or, each of us had made her or his “thing” of one’s own. – – – By then, our symposium had already started. Since we had planned several exhibitions for the completion of our meeting – primarily for our guests, we thought about an announcement – poster to this. Roland Schneeweiss had agreed to develop a symbol for our project. Suddenly the idea had been present, “to design this symbol of our encounter” in cooperation with one of our guests, feeling motivated. Jereldine Redcorn had felt very much motivated and had been curiously about such cooperation. So she had visited Roland Schneeweiss after we all had finished our work – for the day – in the studio in Bremen. There – in the studio on the meadow, she had thought about possible ideas of design – together with Roland Schneeweiss; spontaneous ideas had been outlined.
Looking at the result I recognize that the graphic part of the work of art is the handwriting of Roland Schneeweiss. The outer form of the work of art is circular. I see a person on the right in the circle with a lowered head. This person possibly thinks about something. The look goes into the direction of a black field limited by the outer circle. It may work as being hopelessness or as a being captured in the thought circle of one’s own: An association of this perpetual circling of one’s thoughts caused by the round plate! A turntable which holds the thinking prisoner in an endless loop? Or is it simply only a reflecting to be able to handle a strange situation? – In any case somebody is not capable of developing liberal thoughts in this situation; he rather holds himself tight at the usual trains of thought of his own. I understand the circular limitation as a horizon line now: With this line of sight no-one can open the horizon of his own for the many other horizons! Because: Every man has his own horizon, a thinking and classification – system closed within himself: Only this, what fits into the own and self-established “think – drawers”, will be perceived and immediately “sorted”. This can restrict perception very much and makes communication unpleasant! – – – I think in this place the fact very interesting that Roland Schneeweiss had left the outer circle open in one small place. A white ribbon which exactly ends in this vacancy runs through the whole person apparently. Perhaps a possibility of deriving accumulated tensions? With this question in the “back of my head” my look falls at the colors. I state: They (the colors) let us breathe deeply and cause an elated atmosphere and positive energy. By being aware of it, they (the colors), with that produce within ourselves vibrations which do not know any limits. And this is exactly what arouses in our spirit the longing for expansion! Now, this person would consciously recognize his “being captured intellectually” what wakes the desire for liberation. Of course we escape from it only with a progressive “sensitive knowledge”. With this train of thought I suddenly am aware of the left side of the “plate”. I see two stairs-like things there. The steps of one of these stairs are brown. They lead us there where the outer line of the circle is the thickest and we would land just again within ourselves. The second stairs-like thing appears in a refreshing turquoise green. There where they end (the green stairs), the outer line of the circle is very thin. If we stand on the topmost step, we are on an increased position and have the possibility of looking out over the horizon of one’s own. In this case we will be able to “recognize” the “horizons” of the others and to let communication become an adventure. How do we manage to come up these steps, however? I had mentioned the concept “sensitive knowledge” above. What do I mean with that? Certainly concepts like tolerance, understanding, empathy, patience or also letting – be – valid the opinion of the other person (in communication) are part of it. However, these are only some few examples. (A comprehensive treatise on it would be a project for itself.) – – – There apparently is a connection between the green stairs and the green silhouette of the person on the right circle half. The “profile” seems to be responsible for the way, how we succeed in getting upward staircases towards the “sensitive knowledge”.…
By writing these lines, it again becomes clear to me as little I know about the cooperation between Roland Schneeweiss and Jereldine Redcorn. Several weeks ago, I had already wondered Jereldine, whether she can make a note of something to this (and, if it is only one single sentence) in a mail therefore. Jereldine Redcorn has answered me in the meantime: She has written a small poem to this. I would like to insert it, in this place:
A time with White Snow (Schneeweiss)…
Seeking a beginning,
Caddo Indian sketched an idea,
a circle and lines,
Bulgarian added stability and depth,
Looking away, looking again,
seeing beyond one another
a work of art.
Neither speaking, but understanding,
a way to begin.
Friends bound together.
Looking back, it was a little intimidating working with such a famous artist, as Roland Schneeweiss. Working in the Garden, in the studio, speeding along on the highway in his car, I hold a great affection for this Bulgarian man. Jereldine Redcorn, Caddo/Potawatomi Indian, Norman, Oklahoma, USA, in March 2014.
I thank Jereldine for her having written this poem very much in this place! Her poetic words “paint” the atmosphere of her cooperation with Roland Schneeweiss and describe the process of their acquisition simultaneously. She holds back very modestly, stays in the background, though. Particularly interesting I find it, that Jereldine Redcorn is speaking of “depth”. I have worked out exactly this depth in my way. Roland Schneeweiss certainly had not had my trains of thought in his field of vision at work. But he had been carried by the mood and joy of Jereldine, of a special atmosphere, which had inspired his outlining, drawing and painting (in accordance with his academic education at the academy of arts Sofia) surely in an unusual way. In Jereldine’s poem we learn: Sometime, both have had the certainty that the work of art, the composition, is “ready”. How does this certainty arise? – Which information has reached us by the work of art? – I think it is definitely the much quoted “balance of imbalances”. This is a condition which balances all sorts of flows and strengths and, with that, gives us a feeling of security and of a “being-one” with ourselves: A balancing act which lets us feel and experience stability from unstable conditions. To succeed in such a balancing act is an essential process for one’s own life, like also for the living together in the tiny like also in the great one. – – – Troubling after honest and intensive one, the graphic and colored set tongues of the artist do speak now with the eye of the observer. With that, the work of art points out deep succumbing meaning layers to us. And this had succeeded Roland Schneeweiss excellently: His symbol holds in itself the way on which – while following it – an encounter “with the strange one” can become successful… – – – Remark: I personally also thank Jereldine Redcorn for her cooperation and positive “charisma” by which a whole package of “sensitive information” had flowed into the communication and therefore also into the design of the symbol. Because: She had awarded poetry to the rather formal strictness of Roland Schneeweiss which points at something beyond “formal intellect”… Poem: Jereldine Redcorn – – – Interpretation: Renate Hugel
„Art – Touches – Art – 8” / Interpretation II
In my first interpretation I have worked out that „communication and understanding are more than an intellectually sorting of the opposite person into prefabricated stencils of thoughts“.
I would like to perform a change of my line of sight and try to look at the symbol from “the Indian view” now.
At first I have reminded myself once again which elements of the symbol – design are atypical for Roland Schneeweiss.
My intensive inner testimony on the small work of art brought me the conviction that “the circularity as an outer limitation of a work of art” and the “choice of the colors and their composition” are part of it. – – – Remembering other works of art of Roland Schneeweiss I know that dynamic lines are typical for him: His concentrated and energy loaded lines are transmitting a fast speed. It almost seems to me as if the circularly limitation has taken the speed out of his lines. The colors are supporting this reassuring towards a “pausing”. I see Jereldine Redcorn’s merit in it: Within the “symbol”, to the Indian thought and to the Indian feeling are given now an “inner room for an unfolding”. – – – If I focus the circle newly now, the idea of an eye imposes itself on me. The observer looks into the eye of an Indian. So we become a witness to his head cinema which manifests itself in this eye: In the profile we see an Indian with a bowed head. What he sees in his present reality and what is stored in the “background” (back of his head), a white ribbon is drawing itself between this – of the brain from downward. This separates today’s experience of life and arrangement of life from the experiences of the ancestors which could and cannot be passed on: Language, rituals, manual abilities in order to produce useful things (helping to master their everyday life in the past), as also artistic skills for carrying out rituals (according to their philosophy of life). The lowered look of the Indian person is averted by us, the observers. The person follows his own thoughts – in that attitude of cowering – and is feeling: The gap presses itself against presence and past! The identity gap prevents making the most of the presence in full trains; it but just covers up a grown identity by the ancestors from the past. The consciousness symbolized by the brain would like to overcome this break, the gap. This inner wanting uses all strength: The “bridging to the past” must be realized, must be worked out by “acting”! Unprocessed feelings otherwise will build up: Spiritual wounds are passed on by generation to generation if they are not processed and cause “stress” in the brain and in the consciousness – shown by the red coloration of the brain! – – – The presence, however, invites them, the “stairs (on the left side of the symbol) to increase upward” what asks completely to turn the intellect of one’s own towards the requirements of the presence and to take part – within this presence – in modern life. The American Natives face this – even if it is a challenge! This challenge consists in that, that – on the other side of the “gap” – this part of their personality feels an obligation opposite the ancestors of their own. And this, again and again once more, takes away from them their attention and energy – until they cannot bear it any more. This is why the American Natives had got an inner need to make peace by appreciating the cultural performances of their ancestors which had been lost, as also by empathy with them and their grievous experiences.
And such, a whole universe opens itself to us: The American Natives are looking for a participation in their society of today on the one hand; on the other hand they deal intensively with the reappraising of the past, – with searching for the lost gone culture, language or tradition (to mention only some). Many contemporary American Natives dedicate their lifetime to such a reappraising. – – – Jereldine Redcorn is a living proof for this: As a mathematics teacher her journey through life led her to the “Queen of Clay” *! During an encounter with ceramic vessels of her ancestors, this new direction in her life occurred: In 1991 she had visited the „Museum of the Red River“, in Idabel, Oklahoma. Hundreds of archeological finds could be seen there, vessels out of clay which had been formed by Caddo Indians, therefore by her ancestors. A strong emotional moment which caused the change of direction in her life: She devoted herself to preserve those artistic techniques of her ancestors very dedicatedly since this time. She developed always further and convinced with her fantastic and outstanding performance! (*Under this title I will write in greater detail in a later article on Jereldine Redcorn.) – – – There are still more examples of it under the artists who had taken part in the symposium in Bremen at that time: Kelly Church devotes her lifetime to the tradition of basket weaving of her ancestors, Sherman Chaddlesone had engaged himself in Kiowa tribe politics, as also in reappraising the history of the expulsion of his tribe – accompanied scientifically; and his pictures hold on firm visually Indian events from the past, like a documentation; while in his paintings he made visible Indian feeling. Juanita Pahdopony whom we had met in 2001 devotes herself to the investigation of the language of the Comanche Indian (of her own tribe); Ronald Anderson has always obtained position at events from the past among others with his art. About this I still will write later in contributions to Ronald Anderson – like also to the other mentioned Indian artists. – – – As a result from my examples, “refurbishing” takes place on many fields; it does not remain restricted to “art”. – – – In addition, I would like to say that there is a large art scene alone in the part of the state of Oklahoma which we had got to know. There are so many American Natives who devote themselves to the “refurbishing” in their life! Interpretation: Renate Hugel
Roland Schneeweiss at work in the gallery „pro art“, in the year 2000 in Bremen, Germany
Roland Schneeweiss was born in Leisning (Saxony in Germany) in 1935. By the chaos of war his family came to Bulgaria. He has grown up and been socialized there in the small town Karnobat. He studied art at the Academy of Arts in Sofia. Yes, he had been fellow student of „Christo“ there.…
Works of art of Roland Schneeweiss are in the Bulgarian National Gallery in Sofia durably as well as in many other galleries of the country, and in the Graphic Gallery in Pittsburg (USA).
Roland Schneeweiss lived and worked on 1988 in Rotenburg (Wümme), a town which is located between Hamburg and Bremen (Germany).
He had got a profession with interesting tasks and devoted himself to the graphical documentation of archeological finds and knowledge among others, in which he had been very interested and what had brought him much joy. His “Studio on the Meadow”* had been the place for his artistic activities (*see to this: “Art – Touches – Art – 2 “). Today, he already lives some years in Karnobat (Bulgaria) again.
Participation in International Art Exhibitions:
- Participation in “Exhibitions of Bulgarian Art“ in
Austria, Algeria, India, Spain, Cuba, Mexico, UDSSR, Germany and the USA
- Repeated participation in the “Biennal for the modern Graphic“ in Varna, Bulgaria (from 1981)
- Repeated participation in the „International Art Exhibitions“ in the Cultural Center Jockrim near Landau (1981 – 1985)
- Participation in International Exhibitions in Vienna (1990), Austria, New York City, USA (1995) and in Lahti, Finland (1998)
Individual and Community Exhibitions in Germany: Syke, Lemgo, Bremen, Buchholz, Rotenburg (Wümme), Brunswick, Lilienthal (near Bremen) and Hamburg
Other Activity and Awards:
- Artistic Inner Design and “Art at the Building“ in “Ethnic Graphic and Historical Museums” of the country Bulgaria (from 1965)
- “Monumental, Plastic and Picturesque Wall Design” in Bulgaria and in Moscow (from 1965)
- Medaillion for 1300 years Bulgarian State (1984)
- Medal of the Bulgarian Minestry of the Arts for Art, Kyrill and Methody III (1984)
- Medaillion for Wall Design of the Bulgarian Inner Department of Commerce (1986)
- Member of the Bulgarian Artist Union (since 1970)
- Member of the Organisation „Art in the Province r. a.“, Lower Saxony, Germany (since 1991)
- Founder Member of the Group „Quintum“, Bremen, Germany
Reference to Originator: My listing of the life data, as also of those ones of the artistic activities of Roland Schneeweiss, refer to a composition which Schneeweiss himself had worked out once for himself. Renate Hugel
Remark on a current occasion:
Roland Schneeweiss will participate in a competition in summer 2014: In the Center for Contemporary Art Prints (in Connecticut, USA), the 4th International Biennial “Foot Print Competition in 2014” will take place. The exhibition of Miniature Prints will be opened on June 8th, 2014. She ends on August 31st, 2014. Renate Hugel