Clara Oppel: Sfumato, 2013
geboren 1967 in Haßfurt, Deutschland, lebt und arbeitet in Graz. Oppel studierte Bildhauerei und Malerei an der Akademie der bildenden Künste Nürnberg, Wien und Medienkunst an der Hochschule für Gestaltung Karlsruhe. Sie war künstlerische Mitarbeiterin von Bruno Gironcoli und Meisterschülerin bei Diet Sayler. Parallel zu zahlreichen Stipendien folgten Ausstellungen in Österreich, Deutschland, Italien, Türkei, Großbritannien, Mexiko und Venezuela. Im KULTUM wurde Oppel in den Ausstellungen „Shifting Constellations“ (2015) und “Schönheit und Anspruch” (2018) gezeigt.
born in Haßfurt, Germany, in 1967; lives and works in Graz. Oppel studied Sculpture at the Academies of Fine Arts Nuremberg and Vienna, and Media Art at the HfG - Staatliche Hochschule für Gestaltung, Karlsruhe. She was Prof. Bruno Gironcoli’s artistic assistant and a master class student of Prof. Diet Sayler. Exhibitions in Austria, Germany, Italy, Turkey, Great Britain, Mexico, and Venezuela followed in parallel to a large number of scholarships. Oppel’s works were shown in the KULTUM in the exhibition “Shifting Constellations“ (2015).
Clara Oppel: Sfumato, 2013
“Sfumato“, the title of this “window” the wings of which consist of loudspeakers reveals the work’s origin in painting, or more precisely, Renaissance painting. Leonardo da Vinci’s painting technique produced vibration that undermined clear-cut contours. Clara Oppel comes from painting and sculpting. With this work, she forges a wide resonating bridge to these media, and develops them further using contemporary means that she has been developed for years in the form of sound sculptures. In addition to this, she decidedly refers to the form of the “triptych”. Its point of origin is the retable (a framed altarpiece). Yet, the centerpiece remains empty here. It turns into a projection surface for the viewers. Moreover, Renaissance painters discovered the window as a space opening up new dimensions. In the light of this historico-cultural background, the artist develops a mesh of noise that has bi-polar sources: ‘white noise’ from the right wing, and ‘pink noise’ from the left one. Noises and sounds are formed little be little, which slowly turn into fragments of words. Deliberate listening is disturbed because the sounds get lost in the vibrating in-between space. Due to the fixed direction of the sound, the recipient stands in the resonating space and looks at the empty center. It is the condensed space where one understands the spoken sentence bit by bit—which thereby eludes its boundaries and extends towards openness.
Text aus | Text from: Johannes Rauchenberger: Gott hat kein Museum. Religion in der Kunst des beginnenden XXI. Jahrhunderts. | No Museum Has God. Religion in Art in the Early 21st Century. (IKON. Bild+Theologie, hg. von | ed. by Alex Stock und Reinhard Hoeps), Verlag Ferdinand Schoeningh, Paderborn 2015, S. | p. 878-879.