Please join us for the opening on Sunday 29 October 2017 at 4 pm.
The artists will be present as well.
Dorothea Prühl (DE) & Otto Künzli (DE) So Near – So Far
Noam Elyashiv (US)
David Clarke (UK) Altar’d
Tore Svensson (SE) Lakes
Dorothea Prühl & Otto Künzli
So Near – So Far (so nah – so fern)
With this joint exhibition by Dorothea Prühl and Otto Künzli, Galerie Marzee presents two internationally renowned protagonists of studio jewellery.
So far. The artistic concepts of Dorothea Prühl and Otto Künzli could not be more different. This has rather little to do with age difference or origins: Dorothea Prühl was born in Breslau in 1937, and Otto Künzli was born in Zurich in 1948. Both artists’ work has grown under different socio-cultural living conditions in a divided Germany: since 1956, Dorothea Prühl has lived and worked in Halle an der Saale, Otto Künzli in Munich since 1972.
Dorothea Prühl works with the classical-conventional concepts of juxtaposition, rhythm and symmetry. Otto Künzli often uses conceptual strategies, including the staging of his work in a space.
Dorothea Prühl’s forms have their origin in the real world of her immediate environment, the likeness of which is more or less recognisable. Otto Künzli works with narrative and ambiguity and situates elements of everyday culture in new contexts.
Dorothea Prühl works with wood and metal. Otto Künzli’s palette of materials is constantly expanding.
Dorothea Prühl’s concern is the idea of the image, sculptural-figurative in thought and at peace in itself. Otto Künzli’s work is repeatedly rooted in irony, often provocative and always intellectually challenging.
Dorothea Prühl’s jewellery is the result of concentrated observation. Otto Künzli’s complex works are thought processes translated into material and form.
Dorothea Prühl’s works appear as a continuous succession of different approaches. Otto Künzli’s oeuvre consists of thematically and formally different groups of work.
So near. Dorothea Prühl and Otto Künzli, each in their own way, break with conventional ideas but nevertheless they move within the framework of the established rules of wearable jewellery. The essential convergence between Dorothea Prühl and Otto Künzli lies, perhaps, in their understanding of form, which is based in classical modernism. Furthermore, it confirms their respect for each other’s work. Both pursue their distinctive goals, marked by European culture, with an uncompromising approach. So near – so far.
Noam Elyashiv’s work, jewellery and drawings, focus on the correlation and interaction between line, plane and volume. In her jewellery she captures the precision and linear quality of her drawings in metal.
… the process of creating as an ongoing movement, close to the elements, to the materials and the transformations they go through. One sets the other in motion, evokes thoughts, feelings, deepening the process and keeping it close by. A meditative atmosphere in which matter flows, changes. Heat alters what is, softens shapes, makes something new…
In his childhood, Tore Svensson spent many hours by the small lake of Lomtjärn, near his home in Sweden. Whilst searching for this little lake on Google Maps a few years ago, Svensson found himself looking at it differently. Fascinated by the shape he saw mapped out on his computer screen, he decided to use it in his jewellery, marking the beginning of a new series of brooches. The etching on the surface of these new brooches could, perhaps, suggest the scratches of his ice skates on the frozen lake.