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2012 Art Exhibit

2012 Beethoven Festival Art Exhibit

Click on image below to view gallery

 

Statement from the Curator

The power of art lies in its ability to change the world. It can be a beautiful, metaphysical experience or can serve as a commentary on a global political movement. Today contemporary artists are making work that explores unknown spaces – both spiritually and politically.

Whether speaking out for equality and justice, such as the Occupy Movement on Wall Street, against Pussy Riot’s imprisonment in Russia, or as part of the chorus making up the Arab Spring, people are demanding to be heard. Artists often lead these movements. They are revolutionaries.

Beethoven too was a revolutionary. His passion, recalcitrance, and vision made him the man we now honor and remember. He passed by royalty with his head held high while others lowered to their knees. Through his art, Beethoven subverted the political and social hierarchies of his time.
I am deeply inspired by his fearlessness, and encouraged the artists in Revolution 2012 to create works that broke boundaries.

Each artist dug through Beethoven folklore, listened to countless hours of the master composer’s music, and interpreted – whether literally or viscerally – the energy of this man and artist. Herein lies the power of his art. Hundreds of years after his death, Ludwig van Beethoven can still create, channeled through the hands of 16 contemporary artists.

Whether political or cosmic in nature, each work explores the spirit of revolution. Inspired by the greatness of Beethoven, each piece amplifies the revolutionary spirit of the turbulent times we are living in, both inside and outside of ourselves. This collection is my contribution to the global movement.

Creatures of Prometheus

Iain Andrews

Creatures of Prometheus, 2012
32×40 inches
acrylic on canvas

 
 

Artist Statement

“My recent work has been based upon Folk Tales and Myths, and how those tales have been re-interpreted and re told to successive generations. Beethoven’s musical re-telling of the Prometheus narrative provides the basis for this piece, which takes as its inspiration the theatrical, staged quality of the ballet piece and shows the hanging form of Prometheus surrounded by half formed, indistinct fauna as well as the vengeful eagle.”

Bio

Manchester, England-based artist Iain Andrews obtained his MA from the University College of Wales in 1998. His pieces are held in the public collections of the Progressive Art Collection in Cleveland, Ohio, and The New Art Gallery in Walsall, England. His work has been exhibited around the world at such prestigious institutions as the Warrington Museum and Art Gallery (2012 solo show) and the Harris Museum and Art Gallery (2012 group show). Andrews has also won numerous awards for his artwork including the TOWRY Regional prize at the National Open Art Competition (2011), the Marmite Painting Prize (2011), the Jerwood Painting Fellowship shortlist (2011), and the Best of British, Saatchi Gallery (finalist 2009). Most recently, he was long-listed for the influential Northern Art Prize (2012).

Dream / Don't Dream I, II, and III

David Bender

Dream / Don’t Dream I, II, and III, 2012
12x18x6 inches; 12x18x6 inches; 12x12x6 inches
triptych sculpture of tin, wax, bronze, plastic, epoxy and wood

 
 

Artist Statement

“Beethoven’s symphony, Napoleon’s efforts, and Prometheus’ quest are examples of what we all have in common as human beings – a desire to transcend our daily lives; a path to liberate us from a mundane existence and to embrace ideals that give our lives a purpose beyond the everyday.

In Dream/Don’t Dream, a three-part sculptural work, imagined/failed transcendence is examined. Similar to the ultimate realization of Beethoven, Napoleon and Prometheus, we never attain our god-like aspirations beyond our conceptual ideals. We reach for things beyond our grasp. We set impossible goals. And we fail. Try again. And fail better (Samuel Beckett). But as playwright Tom Stoppard once said, ‘Better to be a failed rocket than a fire never lit.'”

Bio

David Bender opened Studiobender in Bushwick, Brooklyn just under a decade ago.

Painting, sculpture, and design are the main focus of the studio, with an emphasis on the organic nature of process.

Recent work has been exhibited at the Sylvia White Gallery, Woodward Gallery, and the Woodstock Artists Association & Museum.

Vast Spirit

Jim D’Amato

Vast Spirit, 2012
24×24 inches
acrylic on canvas

 
 

Artist Statement

“Beethoven’s ballad Creatures of Prometheus is an astounding work. Its soaring passages range from triumphant to ominous, and back again. Inside the ballad’s sounds I could imagine spaces refracting darkness and light moving in infinite patterns.

While I made the work, I listened to Creatures of Prometheus again and again, enraptured by its complexity. To prevent it from overwhelming me completely, I occasionally listened to other music in the studio. I found myself opting for something entirely different from Beethoven but somehow strangely connected to him – Nine Inch Nails.

The music that filled the studio guided the creation of Vast Spirit. It’s making became a journey into hidden spaces inspired by eloquent sounds. In it I hoped to capture the essence of these hidden spaces, allude to the tragic myth of Prometheus, and use paint to pay homage to a quantum of Beethoven’s genius.”

Bio

American artist Jim D’Amato (born 1978) attended the School of Visual Arts in New York and studied with legendary artists including Jack Whitten and Mary Heilman.

His work has been exhibited internationally in both galleries and museum stores and has been included in group exhibitions with the likes of Richard Serra, H.R. Giger and Alex Grey. In 2011, he curated “Afterlife,” a pop up exhibition in NYC. In the winter of 2012, he will be releasing a new series of multimedia editions.

Beethoven's Song

Christian Dore

Beethoven’s Song, 2012
24×24 inches
mixed media on canvas

 
 

Artist Statement

“Birds were said to have been a huge part of Beethoven’s inspiration towards his music. I wanted to take this influence and create a scene involving a bird. In this case Beethoven, and put him in an environment similar to that of the French Revolution and how he was influenced by its new way of thinking about humanity. Beethoven is depicted as a bright, enlightening and unique bird almost carrying the resemblance of a music note, standing out amongst a lifeless forest. As he sings you can see that the forest comes alive through bright shapes and sound formulated through circles that saturate the trees. He is bringing life back to his surroundings, hence representing how his presence of song has healed and changed the world.”

Bio

Born and raised in Kent, England, Christian Dore’s artistic career began in London as a graphic designer for the BBC. A Colorado resident for the past several years, Dore’s current artistic focus turned to painting, as the extraordinary landscape of his current home provides a grounding and inspiration for his work. Currently represented by Miranda Fine Art Gallery in Denver, Dore’s pieces have been shown around the country and continue to inspire wonder and tranquility in their audiences.

Born and raised in Kent, England, Christian Dore’s artistic career began in London as a graphic designer for the BBC. A Colorado resident for the past several years, Dore’s current artistic focus turned to painting, as the extraordinary landscape of his current home provides a grounding and inspiration for his work. Currently represented by Miranda Fine Art Gallery in Denver, Dore’s pieces have been shown around the country and continue to inspire wonder and tranquility in their audiences.

Beethoven Revolutionary Composition

Carly Ivan Garcia

Beethoven Revolutionary Composition, 2012
24×30 inches
mixed media on panel

 
 

Artist Statement

“Beethoven’s body of work was revolutionary for his time. No one else composed work that sounded like his. I wanted to portray his passionate, revolutionary, multilayered spirit by literally creating multiple layers and showing the fire and ice of his passion in his red cheeks and his ice cool eyes. The gestural strokes of the brush in his hair depict Beethoven’s desire to instill his passion into each note of his compositions. His right iris shows the face of his soul observing as his music spreads to the world. A true revolutionary does not need a red bandana and a gun – he needs the power of his soul and his true talent to spark a revolution.”

Bio

Carly Ivan Garcia is a self-taught artist with a unique neo-abstract style that has dominated the urban art scene on the West Coast for the past several years. His work has been widely exhibited by galleries and curators around the country, including during the prestigious Miami Basel and New York Armory weeks. He will make his international debut this fall with a group show in Rome, Italy at the Galleria D’Arte Collezione Saman. Through his work and his sense of self, Garcia is inspiring and effecting positive change that communicates art as a catalyst for awareness and action.

Sinfonia Eroica

Gilf!

Sinfonia Eroica, 2012
30 x 22 inches
spray paint on diebond

 
 

Artist Statement

“The creative arts have always been at the forefront of societal revolutions. Whether music, dance, or visual art these creatives push the boundaries of what is conceptually viable in their cultures. Beethoven was no different with his groundbreaking work largely influencing Europe during the French Revolution and the Enlightenment Period.

Parallels can easily be drawn between today and that time period. With the rise of the Arab Spring and the Occupy Movements our inter-connected world is evolving at hyper speed. As a street artist I find the opportunity to create a visual dialog with the world is the best way to voice my outrage. Exposing those who abuse their power, and offering a polar perspective to the standard views of the American public drives my creative spirit. Inspired by Beethoven’s unyielding drive in the face of many of his life’s obstacles, and his pure indignation for aristocracy, “Sinfonia Eroica” shows the vigor of the creative genius in his most visceral form.

The title of this piece comes from the composition Beethoven originally dedicated to Napoleon but got so mad at his politics that he scratched Napoleon’s name out, retitled to Eroica and dedicated the piece to one of his patrons.”

Bio

Gilf! is a contemporary street artist living and working in Brooklyn, New York. She graduated from the University of Wisconsin Madison with a BFA in Fine Art and subsequently moved to Brooklyn. Recognized as a strong voice of the current street art scene in New York she has been included in various group shows throughout the country as well as multiple solo shows since her interior debut in 2010. Motivated by her outrage at our culture’s lack of response to the crumbling structures of society she choses to voice her disdain through spray paint and installation work. While recognizing that a positive voice is needed to create change she works to inspire her viewers while simultaneously causing them to take pause and consider the ramifications of our societal actions.

Secret Love

Evo Love

Secret Love, 2012
12×6.5×9.5 inches
mixed media on wood and found objects

 
 

Artist Statement

“A literally portrait of Beethoven’s life and loves begins with a mythic connection to the Greek God Prometheus who loved humans. So much so, that he would steal fire from Zeus to ensure them with a life filled with passion & creation. Prometheus and Beethoven both had secret loves in common. Prometheus had humans. Beethoven had his Immortal Beloved.

“Prometheus’s torch is a predominant focus of this piece, bringing to Beethoven light, love, passion, and creation. The color red connects to Prometheus’s fire and Beethoven’s loves. The sheet music is written by Sammy Fain for the 1950’s movie Calamity Jane, commenting on Beethoven’s influence on music in future generations and the influences of the piano in film. While the sheet music is framed in diamonds to represent Beethoven’s royalty status in the music world, handcuffs are ironically present to tell of the time Beethoven was confused for a tramp and arrested.

“At the center of the piece, Beethoven plays a piano adorned with a bust of Napoleon referencing Beethoven’s Third Symphony Eroica, inspired by Napoleon’s ideas of freedom and equality. A bucket full of ice at Beethoven’s feet tells of how he was known for throwing ice over his head before he composed. A dog sitting with a die with the numeral faces on 5 and 6 represents Beethoven’s age when he died: 56. There is a coffee cup to the side because Beethoven would count out 60 beans of coffee before he had one. Beethoven was said to have 5 dogs that accompanied him on long nature walks. Symbols of loyalty and companionship, a dog never tells your secrets.

“The skulls throughout the piece honor Beethoven’s four siblings who died before him. The Letters J and M honor his parents Johann and Maria. Beethoven’s love for church music comes in with a picture of baby Jesus and his link to the Free Masons is seen in several masonry charms. The watch that sits on the wall represents the long hours Ludwig’s father made him practice when he was young. It is set to 10 p.m., which is when it is said Beethoven went to bed every night.

“The little boy sitting against Beethoven’s bust represents his brother’s son, Karl, who he adopted. The boy is also a reminder of Beethoven’s young age of 7 when he first publicly performed. The Seven of clubs that sits in the boy’s lap is a reference to a spiritual card reading which means great fortune in business and problems with the opposite sex, while the moneybag tells of Beethoven being a smart business man.

“The woman standing far in front of Beethoven’s classical bust embodies Beethoven’s lovers who were all considered out of his reach / league. The space between them reflecting Beethoven’s longing for this woman from a far. “

Bio

Evo Love, born Yvonne Grams in New York, is a self-taught multi-media artist who dedicates her life to making unique altar like creations. Her ultra original work has been exhibited in numerous solo and group shows in North America including at the celebrated Columbia Museum of Art in South Carolina.

Growing up in Daytona Beach and Miami, she has always been influenced by surfing, skateboarding and street culture. Her work communicates a nostalgic innocence taking both artist and viewer on a journey back to their childhood. By methodically placing found objects, each piece informs the viewer of a narrative specific to a theme. Love leaves it up to the viewer to decipher the story. Discarded vintage items and a wide array of found objects are appropriated and converted into a complex and highly personal symbolic language investigating subjects, which range from her Latin and American Indian heritage, her interests in magic, games, strategy, love, culture and history. The use of original heirlooms antiques and collectibles for example, create a type of symbolic time capsule telling a story about breaking boundaries between language, race, class, and culture. Each work is completely sealed in epoxy in order to ensure their permanence. Long after the paint fades, her materials and symbols will strive on just as fossils have.

Untitled
Untitled
Untitled
Untitled

Tamara Mendels

Untitled, 2012
20 x 20 inches
acrylic, resin, enamel on canvas

 
 

Artist Statement

“My paintings represent the performance of painting the canvas is the stage. I rehearse a physical action that creates a gestural marking soon to be poured on canvas mapping my performance through the painting. Some markings are given more time on stage through repetition on varied canvas sizes thus elevating the form by giving it a symbolic meaning of no real definition other than the appreciation of the form itself. Most of my markings are rehearsed and unspontaneous, the liquid nature of the medium of resin often leaves varying results allowing chance to determine the end result. Some paintings are a representation of a singular action; they are immediate and purely expressionistic. The gestural markings represent an abstract language about the nature of painting mediums, surface, colour and form.

I often listen to Beethoven while working in my studio. My favourite Beethoven piece is Sonata no 18. Classical music is unique for me as it is the only music that does not interfere but enhances the creative process.”

Bio

Tamara Mendels graduated with an M.V.A from Sydney College Of The Arts in 2011. She is a co-founder of Jon Frum Art Foundation and exhibits her work in various galleries and spaces in Australia and the United States in solo and group exhibitions.

Quasi una fantasia (“Almost a fantasy”)

Kristina Milakovic

Quasi una fantasia (“Almost a fantasy”), 2012
32 x 32 inches
acrylic on canvas

 
 

Artist Statement

“I believe our essence is made of something musical, and very probably our souls emit sounds.

“In my work, Beethoven is well aware of this connection between music and the soul. With his typical style made of strong contrasts of colors, solids and voids, the dramatic tensions that revolutionize classic rules open new ways of doing and conceiving the musical discourse. Like any true artist, his stern look is there to remind us of his knowledge.”

Bio

Kristina Milakovic was born in Belgrade in 1976. She graduated from the School of Architecture in Belgrade in 1994 and from the Academy of Fine Arts in Rome in 2003. In 2010 she founded the Gallery and Association Collezione Saman in Rome, Italy where she currently lives and works.

Milakovic has been featured in solo and group exhibitions around Italy, Denmark and at the West Lake of Hangzhou Art Expo in China (2011).

Her last solo exhibition was this year in Rome. She has participated in more than a hundred group exhibitions, she was sold twice in the second national auction house “Babuino,” and her works are part of many private and public collections.
Recently she won 4 awards, including First Prize of Massimo Di Somma (2012) and Third Prize in Guidonia-Montecelio (2011).

Piano, Violin, Note”)

Shinji Murakami

Piano, 2012
22x18x30 inches
wood cube, glue, acrylic, lacquer, and hinge

Violin, 2012
28x14x5.5 inches
wood cube, glue, acrylic, lacquer, and hinge

Note, 2012
20x14x6 inches
wood cube, glue, acrylic, lacquer, and hinge

 
 

Artist Statement

“I made Piano, Violin and Note to suggest Beethoven’s presence. I often use symbols in my work to represent the actual subjects I am portraying instead of literally reproducing the subject itself.

“The video game industry began mimicking reality using the limited sight expression of 8-bit design, two dimensional colored cubes combined to create figures made up of only their most identifying features. Making my 8-bit creations pushes me to contemplate not only the simplest expression of a subject, but the exact opposite of that process: the discovery of the most important lens through which to perceive the subject.

“Enjoying playing 8-bit games does not involve only playing or completing the game. It is also necessary to know and understand the rules behind the game and the creator. The process to know and understand is similar to enjoy my artworks.

“The 8-bit expression has been appropriated by the MoMA in its recent exhibit ‘Talk To Me’ and by Walt Disney for its next film, ‘Wreck It Ralph.’ The process of simplifying and highlighting, both for the maker and the viewer, is in the simultaneous contemplation of perfection and deformity, and the interplay between the two. This exploration is necessary and fresh today.

“It’s entirely possible that the 8-bit expression becomes the last boom of the graphic design culture, like ‘4 Step’ in dance music culture or ‘Fix Bike’ in street culture.”

Bio

Artist Shinji Murakami uses his love of 8-bit video games expressions, simple vector lines, and original childish drawing characters, as a springboard into his own exciting world of story telling. In 2003 Shinji began creating his 8-bit map works as well as street art. Since 2009, he has also been working on what he calls “3D-8Bit” sculptures that give physical form to a flat 8-bit images of video games. He was featured in the highly influential “100 Artists to Watch” in the 2011 edition of “Modern Painters” by Art Info.

Daydreamer

Erin Parish

Daydreamer, 2007
76 x 97 inches
resin and mixed media on wood panel,

 
 

Artist Statement

“I hand cast each cube from resin and powdered artists’ pigment. The rhythm of the wave-like forms are both like sheet music and music itself, specifically synonymous to the opening notes of Ode to Joy in Beethoven’s 9th, the welling of sound and emotion just before the full orchestra strikes in with the theme.

“The repetition of the form of the cube is like the repetition and patterning of notes. In themselves they don’t have much meaning. When combined a glorious mosaic or symphony is constructed.

“I played classical violin as a teen and young adult and his training has very much influenced my painting methods to today. Perhaps because of this I am at most ease with classical music in my studio. It doesn’t demand contextualization like current music does. One is left outside of the mass communication, transportation, rush rush rush world we have.”

Bio

Erin Parish was raised in the city of Detroit to four artist parents. Television was not well regarded in her houses, and she had art supplies to fill her time as a child. She grew up going to openings and museums amongst her parents and their friends. Thus, there never was a day that started and she became an artist.

She went to Bennington College for her B.A. and Queens College for her M.F.A. in the late 80’s. Within a year of finishing this degree she had her first solo exhibition and has been exhibiting regularly since then, more than 20 years later with more than 20 solo shows under her belt.

Parish has upcoming solo shows at balzerARTprojects in Basel, Switzerland, Winston Wachter Fine Art in New York, Mindy Solomon Gallery in St. Petersburg, FL and with Winston Wachter Fine Art in Seattle. Her work is found in numerous public collections.

Parish currently works in Miami Beach, FL and New York, NY.

A Moment in Bonn

Ian Ross

A Moment in Bonn, 2012
24 x 36 inches
acrylic, oil, spray paint, pencil on canvas

 
 

Artist Statement

“Beethoven has always been an inspiration to me because of his pure brilliance and reckless character. I myself have a personal and family history of self-destruction and overindulgence. My interpretation of the infamous Beethoven House could be one of inebriated excitement, psychedelia, or a dream in which surfaces have come alive and proportions are slightly exaggerated. I paint energy, and the spaces in which I work are often a source of inspiration. Beethoven’s personal space and historic sanctuary struck me as a fascinating part of his life story. I chose to paint the place where one of the great minds of our time worked under candlelight, drinking wine from lead cups and composing some of the greatest music in our human history.”

Bio

Ian Ross paints “without the burden of intention” focusing primarily on the pure creative potential of each moment, reacting to a composition as it develops. By working without a plan or specific message, Ross believes his paintings convey deep subconscious desires and mysteries woven through his personality. His brushstrokes evoke an aesthetic inspired by patterns and forms in nature, and the complex line structures of graffiti. By mixing these contrasting elements with his passion for three dimensional art (ceramics) Ross has created a style all his own that resonates with many walks of life. His relentless determination to push this visual language to its limits has seen him move to larger mural surfaces, outdoors and inside of many large tech companies in the bay area like Facebook and Google. Ian completed a BFA in Ceramics from CSULB in 2003.

Piano Sonata no. 14
Piano Sonata no. 16
Eroica variations and fugue
Piano Sonata no. 3

Justin Orvis Steimer

Piano Sonata no.14, opus 27 no.2, 1st movement; pianist: Wilhelm Kempff, 2012
14×14 inches (framed)
Watercolor, ink and acrylic on wood

Piano Sonata no.16, opus 31 no.1, 2nd movement; pianist: Alfred Brendel, 2012
14×14 inches (framed)
Watercolor, ink and acrylic on wood

Eroica variations and fugue, opus 35; pianist: Glenn Gould, 2012
14×14 inches (framed)
Watercolor, ink and acrylic on wood

Piano Concerto no.3, opus 37, 2nd movement; pianist: Dubravka Tomisc
; orchestra: Radio Symphony Orchestra, Ljubljana; 
conductor: Anton Nanut, 2012
14×14 inches (framed)
Watercolor, ink and acrylic on wood

 
 

Artist Statement

“Each painting is based on a specific Beethoven work, which was played on repeat during the entire process. Listening to the same composition over and over for hours allowed me to become completely saturated by the music and familiar with Beethoven’s melodies and rhythms, evoking strong emotions and ideas within myself that were translated into painting as they developed. I chose compositions for the piano in order to get to the roots of Beethoven’s thought process.”

Bio

Justin Orvis Steimer received his BFA from the University of Colorado at Boulder in 2004. He lived and worked in Paris and Buenos Aires before settling in New York in 2006. Currently residing in Bushwick, Brooklyn, he continues to explore the process of scribbling which has been his obsession since childhood. By opening up the mind to allow the surrounding energy, time, space, thought, location and emotion to pass freely through the body, a visual documentation of life at that moment is recorded. Working primarily on found objects ranging from ironing boards to pages cut from books, Steimer embraces the physical, tactile nature of painting as a counter balance to the digital world.

Steimer has had numerous shows at the schoolhouse, where he lives, has been involved with Bushwick Open Studios, the G-train Salon, Fountain Art Fair and is represented by Tinca Art. Most recently, he has been selected for a curated show at Scope Art Fair during Miami Basel this upcoming December.

Es Muss Sein 1
Es Muss Sein 2
Es Muss Sein 3

Gail Stoicheff

Es Muss Sein 1, 2 and 3, 2012
15×11 inches (framed)
acrylic, potassium ferricyanide and ferric ammonium citrate on paper

 
 

Artist Statement

“‘Muss es sein? Es muss sein! Es muss sein!’ (Must it be? It must be! It must be!)… A note handwritten by Beethoven on his final composition, Op. 135, and a short motif within the last movement of this terminal quartet, it’s meaning has been interpreted in numerous and disparate ways: from hyperbolic enigma to private joke to contented coming-to-terms.

“For me, its significance lies directly in that ambiguity. It is a sentiment that has no interest in judgment, possessive of definitive spirit without the necessity of definitive object.

“I’ve chosen to work with images of Beethoven’s life mask and skull because they both possess the heroic power of things that must be…life and death. The phrase itself–demanding and passionate, for me evokes a core truth of all creative pursuits. One often finds that the “why” remains a mystery, but one knows, definitively, IT MUST BE.”

Bio

Gail Stoicheff (born Pennsylvania, 1976) holds an MFA in painting from Bard College, Annandale on Hudson, NY (2005), and a BFA in painting from The Pennsylvania State University, University Park, PA (2000).

She has exhibited in the New York City area since 2002, including at PS Project Space (2012), TNC Gallery (2012), Park Avenue Armory (2012), TincaArt (2010-2012), Gallery w52 (2006), Gallery MC (2005), Foxy Productions (2004), Supreme Trading Gallery (2004), Gavin Brown’s Passerby (2004), Brewery Gallery (2004), and Fisher Arts Center in Annandale on Hudson (2002). Stoicheff’s work has also been shown around the country and internationally with Envoy Enterprises in Berlin and London (2012); TincaArt in Miami and Chicago (2011), Rebecca Randall Bryan Gallery in Conway, South Carolina (2009), Sister Gallery in Los Angeles (2007), and Jacquard Gallery in Winston Salem, North Carolina (2003).

She was a recipient of the prestigious Dedalus Foundation Master of Fine Arts Fellowship in Painting and The Elaine DeKooning Painting Award, and was recently the featured cover artist for the New England Review.

Beethoven

Anne Worbes

Beethoven, 2012
32 x 24 inches
oil on canvas

 
 

Artist Statement

“Beethoven, delving into his music, his work and his nature
I sense this touching intensity,
the melancholy in his eyes,
suffering and passionate,
bearing the heavy weight of life, enduring it.

“So often racked with pain of the body and financial needs.

“A sensitive soul, hurt, vulnerable, desperate, aggressive, vigorous, impetuous, an outcry of agony,
solitude, heroism, indefatigable working far beyond the limits of power, longing for warmth and shelter, freedom, perfection, love, his strength in all the weakness, the explosive energy of this genius.”

Bio

Anne Worbes was born in 1966 in Jena, Germany. Formally educated in theological and pedagogical studies she currently lives and works in Leipzig and has three daughters. Her work has been exhibited in galleries and museum shows around Europe including in Germany, Austria, Spain and Romania. A few years back, Worbes made her US debut in Miami, Florida. She continues to emerge on the American market with shows including last year’s Beethoven Festival 2011 where her piece sold for double the asking price.