“Block-Pictures as ‘a Place’ of Meeting”
– Initiator: Heinz Hugel –
Left photo: Two examples of block-pictures which have arisen on suggestion of Heinz Hugel in teamwork. – – – 2000, Bremen (Germany) – – – Right photo: Heinz Hugel
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“:
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???
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…
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…
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)
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…
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”.
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”