Monthly Archives: April 2015

“Art Touches Art – 16”

 Block-Pictures as ‘a Place’ of Meeting”

Initiator: Heinz Hugel –

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Left photo: Two examples of block-pictures which have arisen on suggestion of Heinz Hugel in teamwork. – – – 2000, Bremen (Germany) – – – Right photo: Heinz Hugel

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Also see to this: Teamwork: Block-Pictures – – – Please scroll back for this till “Art Touches Art – 1”, then scroll still back to Information to ‘Art Touches Art’, again back to “Chronology of the Past History” until the end of this contribution. There you find the note to: “Teamwork: Block-pictures”.

Block-Pictures as ‘a Place’ of Meeting… – – –   Teamwork

Toward the end of the symposium-time Heinz Hugel had taken the decision spontaneously to offer to the group his idea of “Block-Pictures” (see: “Art Touches Art – 15”) for a common work of art. For this, he had brought from his studio several wood blocks of different extents, like also various materials out of his find-pieces-collection. The photo-examples show that this material had been accepted with pleasure. And, the feathers, they could be found on the work-table of Jereldine Redcorn (see: “Art Touches Art – 10”).

This had been the agreement: All participants of the symposium should represent themselves – depending on their own idea – on every single block-picture. Fronts and backs were design areas, as also the narrow areas above and on the sides.  So they, the block-pictures, conserve since then the energy arisen at that time on an artistic and human field, like also the positive vibrations of the atmosphere facing each other…

Some time ago, I had already put together the then still analogous photos I could find for my planning in advance. After having sighted them newly now I felt the immediate special strength coming from those team works!

I have exemplarily some examples picked out and arranged of the results of this „group-event“:

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Example A: On the right of the front (upper part) of the block-picture, a contribution of Ronald Anderson is to be seen. An American Native is just going and in pose standing there. Being determined, wide-awake and firmly “earthed” he mediates strength and absolute presence! On the right to this person, one can recognize letters. Enlarging the picture one can read: “HOLD IT TOGETHER”. I see in this the desire for maintaining the contact!

On the left side of the photo, a white colored face looks at us. This shape rather reminds of a skeleton – or of one from whom blood and strength had been taken away… – – – And, here it is this skeleton in front of us, faces the observer – without arms, what means “without action possibility”. This look confuses: The opposite person seems to be ‘speechless’ and ‘faceless’! For, his face is one single white area. There is only left the look of the eyes seeming to tell: “Here I stand with all my emptiness!” – – – By having written my interpretation-approach down, it got clear to me that Ronald Anderson can have meant here a before-afterward-situation: Snatched from their original life, there was nothing left from that what had agreed on the people concerned. Their current life had disappeared and, together with this, that one of their ancestors and of their grown culture! Vibrations let arise a feeling of a tension bend between the two persons “before-afterward” – when letting in one self: And this immediately refers to the presence! Does this “NOW” hold the strength for something new???

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Example B: This wood block area of another block-picture is defined on the right side from a big figure out of a metal plate fastened on the wood. This human shape seeming shadowy is a work of art of Heinz Hugel. Above on the left on a white ground a reddish brown colored hand is to be seen. Above this are put blue-black graphic structures. The blue-black brush line, spontaneously and precisely, does not want to go into detail, though.  Nevertheless, the observer is feeling something sensitive in this hand! – A work of art of Jereldine Redcorn! – – – I still could tell much about the two lines drawn once parallel when the piece of wood had had another function for instance. They seem to give support for the feeling hand: Sensitive acting and systematic acting of the intellect form a connection…

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Example C: During the symposium time, Margaret Hetrick has concentrated on meaningful collages of cut subjects or letters from old magazines (see: “Art Touches Art – 6”). And her contribution “Acceptance” – “aber ewig” (but eternal) with that has a comprehensible re-reconnaissance value. The term “acceptance” does not immediately disclose itself to the observer. This happens only when letting himself in for the many tumbling letters which could also interpreted to probably other words. So, the picture requires a ‘letting-in-oneself”, like also “acceptance” requires a ‘letting-in” on another person!

The striking hand imprints immediately jump for the observer into the eye, as well. These are from Sherman Chaddlesone who has left his traces here this way. We see the yellow imprint of his thumb while on the narrow side his palm print is to be seen, and on the back of this block-picture finally are his fingerprints… Another hand imprint of him shines in red color on the block-picture behind this…

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Example D: On this block-picture the contribution by Kelly Church can be seen (on the left side of the photo). To this, she herself gives the following information about it: “Yes I painted the circle with colors that looks like a compass. It is called a Medicine Wheel. The colors represent the following: *Yellow is East and is always first, it represents birth, springtime, sunrise, new beginnings. This is the direction we enter our circles from, and some of us also use east doors on houses for entry. *Red is South and represents the south. It is the teenage years, the years of learning, summertime, sunset. * Black is West and represents adulthood, fall time and night. * White is North, and represents the elderly ages, wisdom, winter, daytime, the end of our journey on earth.” (Literal quotation of Kelly Church, 2015)

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Example E: On the photo above, the “top-view” on a block-picture is to be seen. It is very good to recognize: Roland Schneeweiss (R. S.) has painted once again his “Symbol of the Encounter” (see: “Art Touches Art – 8”). In addition, he indicates the energies (blue dancing lines) which have developed in the course of the symposium…

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On this photo is to impose that R. S. had painted the upper narrow area of all arisen block-pictures with his “Symbol of the Encounter”.     

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Example F: The last photo shows a contribution of me myself: The narrow side of the block-picture, which is to be seen on the right of the photo, is filled out by a white human shape. The blue muffling the mood seems just to pull itself out of the body up – at least out of the “energy-body”… – – – To be totally one with me myself in the moment of a spontaneous brush line, this I “celebrated” in my works of art at that time: A condition which still appeared to me like unreal although “head and energy working together, being one” in reality being considered natural should be a fact… (See: “Art Touches Art – 9”)

 „My gratitude goes to Kelly Church, Jereldine Redcorn and Margaret Hetrick for their helpful support at the reconstruction of facts!“

 Composition, short interpretations and commentation: Renate Hugel

Remark: Current stand: To the artists mentioned in this contribution, I have actually written till now the following contributions:

Ronald Anderson:        “Art Touches Art – 1” + “Art Touches Art – 13”

Sherman Chaddlesone: “Art Touches Art – 5” + “Art Touches Art – 11”

 Kelly Church:              “Art Touches Art – 3” + “Art Touches Art – 12”

 Margaret Herting:       “Art Touches Art – 6”

Heinz Hugel:                 “Art Touches Art – 7” + “Art Touches Art – 15”

 Renate Hugel:               “Art Touches Art – 9”

Jereldine Redcorn:       “Art Touches Art – 2” + “Art Touches Art – 10”

                                                             Renate Hugel

                                                                                                             

„Art Touches Art – 15“

Heinz Hugel:   „The Meeting“

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Heinz Hugel: „The Meeting“ – – –  Block-Picture (Front) – – – Wood Block, inked with pigments; collage out of: Rope leftovers, flat driven, oval shaped tin can, rusty iron plate remains and others – – – Sizes of the wood block: 29 cm x 40 cm x 6,5 cm – – – 2000, Bremen (Germany)

The Meeting

A block-picture is a three-dimensional object at which the wood block is carrier of colors, like also of various collage-things. With that, the wood block also becomes a carrier of information. Heinz Hugel (H. H.) had got the idea to this kind of work-of-art sometime. Like already at other „discoveries“ he was happy to develop many variations by „playing“ what is letting arise possibilities to „exhaust”.

H. H. has created the block-picture “The Meeting” in the year 2000 on the occasion of the encounter with artists of American natives. The warm hue of wood, this nature material grown within decades (or also well centuries), H. H. has dipped into a cold, almost unreal coloration: A background particularly stressing old injuries of the wood, like holes or indentations. The two persons (standing opposite to each other on the right side of the front of the wood block) are just as “marked” by the “traces of time” as the wood. At the same time, the observer perceives that, actually, these are old rusty metal pieces. With his way of perception Heinz Hugel has seen human shapes in them (in the pieces). He leads the observer to his perspective by putting them (the metal fragments) opposite to each other:

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The two metal parts can be interpreted (more or less good) as heads, bodies and legs (without feet). The figure on the right of the block-picture shows a rather red-brownish coloring and seems to carry a headdress. This person looks openly and interestedly into a face with a very astonished facial expression. That body (of the left person) appears in a rich gray-color. His posture whereas makes way apparently towards behind. – – – In an immediate neighborhood to the persons we are aware of the oval of a flat driven tin can as observers. This oval shape is creating in us the association “mirror”. The blunt metal gleam prevents that one “is also really mirrored” in the “mirror”. With that, the “mirror” refers to this that – in this situation – these both persons have “removed” their consciousness of their respective reflection – and with that their “outside effect”. Because: this does not have a meaning at this moment and steps back…

A consciousness of us ourselves – the image which we establish within ourselves representing our “ego” – nowadays all of us are carrying around with us. We believe to see in this that what we are which agrees on us: our personal idea of our self – identity. This, however, does not mean that the others are aware of us also in the same way. Our picture of ourselves in this respect is a “self-admiration”! Communicating with an opposite person we like to allow it that we project our own position onto the respective opposite person. – A fault which leads to communication difficulties! The person opposite to us then feels “not understood” namely! For, the opposite person, too, has an own idea of his or her ego-identity in turn. It gets complicated in case that this person “sees only his or her own position” in the other, opposite person. And there is then lack of understanding with that on the two sides!

We human beings have developed language “to express ourselves and to communicate with each other”. But frequently, we use language in order to cement simply one’s own point of view, without making the effort to understand the point of view of the other person. Such a procedure leads any communication into a dead end!

With the in the above described combination (two persons into face to face plus cheerless mirror), Heinz Hugel shows  exactly this moment in which both persons meet each other and do not hide their astonishment that the respectively other person is not in that way as one thought!

It is already the first step to be aware of this astonishment and to allow one’s self a readiness for opening one’s self to the opposite person and to let in one’s self for the ideas and for the self-concept of the other person. And exactly this is the moment in which the own idea of one’s own as also ‘our previous picture of the other one’ is coming into swaying. However, it is important to stand those feelings in such a situation! Only like this, we meet this present moment with the necessary respect! For, such a situation requires corrections of our previous ideas! And this we experience as a short-term uncertainty, what H. H. has symbolized by the cheerless mirror: the reflection of one’s own seems to have disappeared! In truth we meet new aspects and experience a real ‘meeting of man to man’!

With one detail on his block-picture H. H. shows that he has meant our concrete situation (The „Encounter of Native American Artists with European Artists“) with his work-of-art, „The Meeting“: The person on the right side of the wood-block seems to carry on the top part of his head an animal mask, which is “in dissolving” like also the persons themselves: At the beginning I have described the iron stamped by weathering embodying with this the two persons. With that, the material “rusty iron” symbolizes the intellectual–psychical process of coming loose from firm ideas about the other one as I have explained above. The prerequisite for such a process is simultaneously to come temporary loose from ideas of one’s own perhaps also from the self-definition of one’s own. On this path called ‘letting oneself in for each other’ we succeed in ‘letting somebody different be valid’ and in ‘accepting other life-forms and other aims in life’. This gives us the strength to be also aware of ourselves and to adopt ourselves.

In reality such a reaction creating understanding happens only at one single moment! A spontaneous reaction out of the moment often decides on understanding or misunderstanding!

Heinz Hugel has “held it tight”, the moment, with his work-of-art. I have described this moment in “slow motion”…

While being turned towards each other and with their openness for each other the both described persons create a warm atmosphere. This is standing out agreeably from the cold of the ‘background carrying the persons’ but simultaneously revealing traces from injuries of the past on the surface, however!

I glance at the back of the “block-picture” now:

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Heinz Hugel: „The Meeting“ – – –  “Block-Picture” (back) – – – Wood Block inked with pigments; collage out of: slat piece colored with pigments, rusty nails, rusty iron spiral, old aluminum-signpost (with identification number) – – – Sizes of the wood block: 29 cm x 40 cm x 6,5 cm – – – 2000, Bremen (Germany)

By its coloration, the back is also determined by a cold or shrill atmosphere.

Whatever had been the origin function of this aluminum-signpost above on the right of the back, it is around an exact assignment: In our world, everything and everybody has a name and gets registered by an identification-number. However, this aspect is totally kicked to the background in this ‘special moment of opening oneself for an opposite person’ (like to be seen on the front of the wood-block)! Being chained up to one‘s ‘personal background’, – symbolized by the wood and its arranged surfaces – this seems to play a role here as well: A rusty iron spiral with the ragged, loose hanging end (under the aluminum-signpost) refers to this that this moment gives us freely for one single moment to live attentive in the presence…

Though, it is just for such a moment only in which we feel unbound and carefree, almost as if we would float. Back in the everyday consciousness we are again a building block of the ‘architecture of past, presence and future’!

In fact, all of us have to have a good look at our ‘own background’ for, we are connected with this by a sturdy invisible ribbon. If we do not do it, we become ‘molded by life’ and with that we have missed to build up a consciousness about the ‚why‘. But such a moment (like shown by H. H. on the wood-block), opens the chance to live the presence with vigilance and enriching future with new aspects with that: One single moment attains the energy to give a new, positive direction to the causal chain of ‘past – presence – future’…  

                                                                                                                      Interpretation: Renate Hugel

 Remark: Current stand: To Heinz Hugel I have written under “Art Touches Art” the contributions “Art Touches Art – 7” and “Art Touches Art – 15”.                                                 Renate Hugel