The exhibition shows photo series that were created over a period of several years. They mostly represent natural aesthetics in different contexts and atmospheres, but also evoke personal relationships.
They will be accompanied by poetic texts and prose descriptions. In terms of their visual appearance, the photographs do not contain any decisive digital modalities.

Grey surprises me, 50.8 x 38.3 cm, 4 cm white border, 2018

Primordial, 50.8 x 31.3cm, 4 cm white border, 2020

However, if Tàpies implies a footprint in his works, then it is the symbolic imprints that man leaves in the world, that makes visible the direct connection between man and the world, or rather the earth. Here Tàpies reaches a sign-like symbolic dimension. This is also anchored in his preoccupation with spirituality. He was interested in the relationship between art as something truly haptic, such as the earth, dust, but also the spiritual, which is presented in symbols.

Woldt concept searches in her photographic series for the cognitive or affective leitmotif that led to the seemingly specific motives of nature. In it, the thread tries to find identity and its transformations or anchoring. 

Nathalie Edwards, Radiant Earth Mother Goddess I, II III, hand sculpted of white stoneware clay, fried to 1000 degrees; hand finished in 22carat Italian Gold leaf; with 2 layers of shellac varnish to set. Specifications:  I - weight 2.42kg, 20x23x9.5cm; II - 2.75 kg, 24x28x13cm; III - 2.37 kg, 22x24x11cm.

The collection will comprise of 111 goddesses in each of the elements; Spirit, Earth, Fire, Water, Air. The Goddesses will be exhibited as a grand tribe, once all the series is completed. The original pieces all being formed from 1.1kg of clay. The significance of repeated numbers is referenced in all the worlds' wisdom & religious traditions. 111 is significant to me personally as I woke regularly in the pandemic at 1.11am filled with creative inspiration from another place. The repeated numbers theme is continuing in parallel with the alchemic five elements as an integral part of the Goddess Collection. 

For 'The "History Nautic" Exhibition I have introduced to the collection three unique hand built stoneware 'Radiant Earth Mother Goddesses', finished in Italian 22carat Gold leaf . Each hand built sculpture formed from 3.3kg (pre firing) of stoneware clay. Following on from my Wood Fired Earth Piece currently on display as part of the collective exhibition - Ash Ember Flame.

Woldt concept is the artistic name of the gallery owner, Dr. Isabella Woldt. She conceptualised the exhibition. Regarding the role of Gold as material of cultural identity see her blog text titled Gold as memory track:: https://www.iconology.hypotheses.org/1255

Tournded Outside, Part of the Photography Essay "Theatre Forest", 2020

The photographs will be presented in juxtaposition with Antoni Tàpies. The show presents 5 paperworks by Tàpies and a series of artworks by his contemporaries (private collection).

The focus goes into the questioning and visualisation of the history as a natural transformation.
Tàpies went through a several periods in the history of modern and contemporary art, and the show thematises his artistic use of earthly materials and creation of abstract forms in relation to the view of nature and its metamorphosis and in a strong relation to questioning the identity. Tàpies worked on the floor to create an immediate relationship to the earth or Nature.

Nathalie Edwards looked at the image of the feminine and its origins as she explored issues of identity and existence in 2020, also against the backdrop of the pandemic. The result is the conception of a series of sculptures, which she calls goddesses.

Nathalie Edwards is a British-born self-taught ceramic artist based between London & France where she has her own ceramics studio. Nathalie has a background in art & design with a Hons Degree in Interior Architecture & Design. 

What she states about her art:

For me, the art of making is an expression of my feminine aspect; a place to be quiet and tune into my inner world. A place to release suppressed emotions, to 'be' and create, away from the 'doing' of modern life. My current body of works 'The Goddess Collection', is an evolving collection of work celebrating the feminine essence in bodily form. The collection started as a response to my isolation during the pandemic I was inspired by a beautiful female torso sculpture that my daughter had made me some years previously. I started to create female forms myself, quickly realising that I was creating Goddess sculptures, their forms carrying with them an ancient resonance from a previous time. Each form embodied the divine feminine, each coming to being with her own energy and unique form, arriving without conscious effort to be different from the previous.

For many years Russell has been interested in the connections and relationships between human processes on a psychological level, and interpersonal connections on a social level. There are structures in his artistic practice that physically visualize these connections in individuals and between people. Even the wall-mounted works made of PVC in 2012 underline precisely these aspects. Geometric forms and designs become representations of systems we are a part of. They appear as networks that are constantly being supplied with new content and information from perception, experience, and reflection.

Russell conducts his artistic investigation of the circumstances through a meticulous examination of the material and its technical possibilities. He chose PVC, perspex, and acrylic because here he can control and finish the material through targeted cuts and modeling. The artistic practice results in artworks characterized by exceptionally patient precision and attention to detail.

Russell provides more detailed explanations of these Toys, as he calls these sculptures, in the short videos, where some explanations of the artistic creation process are given by the artist himself. 

Dr.phil. Isabella Woldt 

Red Orbits, acrylic and stainless steel - 25 x 19cm (approximately) - December 2018, Edition of 4

A way of looking at this is like an axis of time extending from top to bottom through the assembled layers with effort described on a lateral plane extending away from it. Like a three-dimensional graph. Viewed as a whole this can be seen as a snapshot of efforts through time, with everything else stripped away so that only a skeleton of activity remains.

Red Orbits, Angel 1, acrylic and stainless steel, 12x10x9cm, 2019

Made from numerous individual acrylic components – some of these compositions consist of more than 100, and held in place by stainless steel rods. – Imagined profiles of energetic orbital paths are arranged from one end to the other. Each one is asymmetrical, varies in distance from the centre, and returns to a tight curve around the core. 

Red Orbits, Angel 2, acrylic and stainless seel, 12x10x9cm, 2019 

The core gathers up and anchors these red trajectory forms into a column of imaginary traces of effort and activity.

Mask VI

plaster, yarn, acrylic, pigment, 20,32x30,48x7.62cm, 2020

This mask becomes tangled. This rust-red work evokes an impression of the symbol of infinity, and therefore its shape is reminiscent of the constant natural course of things. And yet it is not freely exposed to the forces of impermanence. The surface is structured like a crust, a protective crust, a protection against the influences of transience.

Mask II 

plaster, yarn, pigment, acrylic

60,96 x 45,72 x 25,4cm, 2020

It's a form that writhes in itself. The green pigment refers to the natural polles that float in the air. And yet it has found its constancy in a form. 

The artwork is part of a series that Judith titled Masks. As the artist explains, the title refers to the journeys, which she undertakes between the urban space of the city and the forest. 

The mask is protection, it protects our emotions and makes us appear strong.

POA