World Fine Art Professionals and their Key-Pieces, 229 - Sabine Jacobs
World Fine Art Professionals and their Key-Pieces, 229 - Sabine Jacobs
The Form On-Line exhibition at Breed Art Studios showed the work of two artists: Sabine Jacobs (DE) and Gerda Kruimer (NL). Both are linear, constructive and spatial, with Gerda Kruimer using the straight line and Sabine Jacobs developing amorphous forms of growth. It provided an interesting dialogue.
A large swirling shape by Sabine Jacobs could be seen in the front left-hand corner of the exhibition space. It looked a bit like a giant seaweed plant. In other places smaller organic forms could be seen, which also seemed to move and ‘wave’ in the manner of the undersea plant life.
The works are made of pieces of glassy blotting paper that are connected with metal wire. After the basic structure was ready, the blotting paper was treated with oil glaze paint, I hear from Sabine Jacobs at the opening. Hence the fragile, glassy, fairy-tale effect. Sabine Jacobs lives and works in Monschau, Germany, in the Eiffel Mountains.
During the working process, Sabine Jacobs appropriates nature without literally depicting it. Sabine: “The constructions are recognizable and have the suggestion of movement. Apparently they move around in space like a piece of nature for their own sake. Volatile and fragile with the strength of a light spirit.” They look like jinns, magical creatures. Hence perhaps my thought of a dragon.
She uses various colors, colors that plants often have, green, yellow, blue, and then the light variants. She responds to the needs of the viewer. "In my drawings, sculptures and installations, I want to achieve this through the detour of abstraction in order to use his / her associative and empathic skills."
Human as a part of the ecosystem
Sabine Jacobs is not only trained as an artist at the Design and Graphic - Visual Communication department of the Aachen University of Applied Sciences, but has also completed training as a certified nature guide at the educational Ternell Nature Center in Belgium. “Coming from the observation of nature, I see humans as part of the natural ecosystem. That structure is strong and fragile at the same time and constantly subject to change. "
The theme therefore appeals to her so much because it is about the basis of life and survival. “According to the laws of nature, every movement follows a reaction with an expansive effect. Constant living together is no longer common nowadays. Sometimes something is pushed aside for the benefit of the whole. I am opposed to that. Only what is approached and perceived constructively is respected and protected. "
At the start of her studies, in the 1990s, she made realistic, explanatory illustrations of animals and plants. “By looking exactly, my perception changed. It enriched my ideas on an abstract level. Not only shape, color, function and usability were important, but also the perception of an equivalent opposite with skills and knowledge that were much further developed than myself, with a grace that even in transience is fascinating. From that moment on, I tried to capture this experience in the first abstract drawings, which focused more on perception than on recognizability. The image of ‘new intervening beings’ came up, whose overall point of view I wanted to see and began to complement and conceive with thread and paper. "
Does she have a key work, a work that stands out and has produced new work in the same atmosphere? “It is a smooth process for me, where one insight leads to another. I have two areas of work. One is the freehand drawing and the other the constructive sculpture in wire and paper. The constructive sculpture is in turn divided into freely constructed structures with realistic features and those with abstract solutions. The realistic drawings are based on a concrete example. The abstract work rather follows a construction principle without an example. If I had to point out a key work in the realistic work, I would point out the sculpture ‘spirit’. When I made that, I realized that I could make a spatial work without an example drawing. "
But also and perhaps even stronger there was a key work when she discovered a construction principle that she could use further, ‘around’. That started in 2011 and continues until today. “Here, for the first time, I succeeded in finding the abstract, associative recognizable shape that suited me. The result is a closed system that opens up intellectual spaces and at the same time refers to the same origin. ”
Creatures from the realm of mosses or corals
So far, fourteen of these objects have been made. “For me, these are closed periods, in which I can dive in again and again. From the outside, the organic-looking bodies are reminiscent of living creatures from the realm of moss or corals or the buildings of unknown residents. Others see small societies in it, resisting hostility from outside, gathering around their center, and letting incoming inconvenience get lost in the labyrinth. Each of these ‘arounds’ has its own character. Sometimes calm and even, sometimes expanding and wild with opaque white, yellow and green-blue stone colors. Depending on the circumstances during the construction phase. "
What they have in common is a size that fits the size of the hand and that they are made on 21 hand-knotted and paper-covered grid structures that can be rounded from the center.
When she realized that with those free-made building systems she could tell these kinds of messages, she left the drawn examples behind and started working directly with wire in the room. For example, in 2016 the large installation work ‘Fließ’ (Flow) was created. “It looks like a loose assembly thrown into space, with a broad brush stroke. It comes across as a wave or as a fresh wind with the intention of creating more air. ”
What she needs today as a model, she says "is a moment of perception of my environment that bridges the gap between the origin, the present and the desire for constructive change."
The inspiration for 'Fließ' lay with a small watercourse called 'Wurm' (formerly 'Worm', Old German = warm) that originates in the south of Aachen, flows channeled under the city, traverses the former coal mine in Kerkrade and traverses further to Jülich in the Ruhr, "and therefore crosses our borders twice. Human settlements were created on its banks, which used hot water for their business. Ceramics, dust and ultimately coal turned the life-giving source into a black sewer. Nowadays, the ‘Worm’ partially regains its natural form and can breathe again. A liberation in a continuous movement. A process that can be applied to many areas of life and that can in any case be realized in your mind. "
After high school, Sabine Jacobs chose to learn the art of painting with a ‘master’ craftsman. After receiving her ‘Gesellenbrief’, she went on to further education, the Design and Graphic - Visual Communication department of the Aachen University of Applied Sciences. In 1993 she did an exam with Prof. dr. Dr. Ulf Hegewald (sculptor and architect) and she received her diploma in Graphics & Design.
Finally: what is her philosophy? “Manual work with simple means gives me time to reveal the essence. It is a method that I want to continue in the future. In your own balance, according to your own hand-guided line to discover more and express yourself. ”
1) Form.on.line,breedartstudios2019,blumentiere.faecherbau, 2) 2004, buchenleben, s.jacobs, malerische.zeichnung.auf.papier, 415x292cm, 3) 2015, spirit, s.jacobs, konstruktive.plastik, eisendraht.u.papier, 52x45x46cm, 4) 2016, fließ, werkfoto.atelier, s.jacobs installative.plastik, eisendrahtu.papier, ca.250x250x500cm, 5) 2016, follow-flow1, s.jacobs, installative, objektreihe, eisendraht.u.papier, 26x23x18cm, 6) storie,s.jacobs, Foto.Andreas.Herrmanns, malerische.zeichnung.auf.gewebe, 200x200cm, 7) 2018, Blumentiere, spiral.1,s.jacobs_konstruktive.plastik,edelstahldraht.u.papier,52x40x21cm, 8) 2019.s.jacobs,around14,konstruktive.plastik,eisendraht.u.papier,28x28x26cm, 9) Form.on.line,breedartstudio2019,around10,s.jacobs,konstruktive.plastik,eisendraht.u.papier,30x30x48cm, 10) Form.on.line,breedartstudios2019,blumentiere.faecherbau4,s.jacobs,konstruktive.plastik,draht.u.papier,46x38x16cm, 11) Form.on.line,breedartstudios2019,fließ,detail,s.jacobs, 12) Form.on.line,breedartstudios2019, fließ,detail2, s.jacobs, 13) Form.on.line,breedartstudios2019,hintergrund,detail.objekt.gerda.kruimer,vordergrund,around 14) s.jacobs, portretfoto Sabine Jacobs