Searchs the Nature for the Wideness of Art

A Spirit of Novelty and School Strictness in Wagner's Sculptures

It still for the sculpture its distinguished and special flavour, among other general directions of the visual shapings, and still for the sculptor his individual creative worry, in dealing with his own theme. This provocative relationship between the thoughts that are mostly flexible-holding their large dimension- and applying them, exact encirclement and submission of the crude matter! The latter makes us stop to think about the scope the desire requiers, in donating life and soul to the mass, through entire bunch of instruments, in which factors as: creativity, craft, expertise and owning connotation overlap.

Now we are in front of an experience of a German sculptore, she resolved not to enter into complexities-the contemporary art reached, or at least keep that transparent link between the optical theme-in its classical appearance-and the flavour of creativity (taken by fascination of natural form mingled with touches and turns, all of whom intersect with many changes, the artistical sculptural field faces nowadays). The German sculpture Caroline Wagner, belongs to what we can call the Neo-Classism trend, or the professional that bets on connecting the new with the academical proportions of sculpture, such proportion are: dissection, keeping the fundamental elements of the theme, the distance as much as possible from absolute abstractionism, and the addition of an exciting print on form, through the possession of traditionary elements of sculpture. Therefore this way of betting gives the reciever the joy of viewing and continuity.

The works of this artist are on a direct relationship with people and their public case. She does not drift toward her own psychological worlds, the fact that keeps her works on a state of direct intersection with the eye, and the connection with realistic visual storage of the reciever; far-gone of what many sculptural experiences suffer from in respect to constructing themes and thoughts, such as estrangement and extravagance.

In her works there isn't any kind of loyalty to abstraction. The bet to her in connecting the idea and the artistic work, is professionalized by rhythems and touches accordingly, and in a way that resembles to a great degree the songful. An artistic piece of hers is absolutely balanced. She controls the area of mass in studied measurements, in order to find consonancy for the sake of form's objectivity and its numorous proportions. It reminds us with a stage, sculpture was closer to the challenge, within the process of creation and embodiment of the data contents of this world.

Wagner was born in 1964, she studied art at her father's atelier "The well-known German artist Hans Jörg Wagner", it seems that he planted in her his worlds, in connection with the love of nature and its creatures; In order to stay Caroline faithful to this subject and to go on with her path of art, she has made nature and wild life the main pivot, around whom she circles and monitors its outcomes.

However you look, there is an animal! ! !

What is this strange obligation to one theme?

It ought to make us feel the existance of a position behind this arguebly exciting bias; but what justifies this sort of monolook is that, she has been able to find a breather and a creative area-rich with datas-at certain standards and the levels ofmovement, rhythem and form. As a result her choice to this world did not limit her experimental and creative cieling, it gave her instead a subjective peculiarity, upon which she presented a plenty of visual variforms and craftmanship.

In the works of this artist there is a brightening life, her themes are rar from being static. The form is picked at a second, when the creature starts to perform a moving action. There is a kind of instinctivness in her works, the instinct of life, existance and motherhood.

All these cases are of clear evidences, and through them tries Wagner to add a lively print on her three dimensional figuers (figuers of bronz, stagger between intermediate and big measures).

For the presentator, there is nothing but to be stopped by her evident experiences in the garne of anatomy, as if her works were done out of prearranged matrixes. The elements of workmanship and the respects to one another-are extremely and carefully studied, she is previously aware of the relationship between mass and void, that these mute pieces are to this voidness and make it connected to the liveliness of creation.

Generally, the works of this German sculptor represent a state of discovery, to worlds the chisels of the artists are hardly related, especially in the present period where tens of novel ingredients have predominated the mentality of sculptors. The atelier have enterd its maximum levels of liberty from school values, in favour of composition, installment and other directions that refused the traditional aesthetics.

Caroline's experience is a radiant whisper and clear sided worlds, replete of warm sensible indications in this cold world.