Franziska Dörfel Verified

In my work “Fragments” I have dealt with the duality of our human existence. The 3 Graces of Canova describe the theme of connectedness and empathy, to meet oneself and creation with compassion. In my painting, however, her intimate embrace dissolves into an abstract,fragmented language of form. The characters stand exemplarily for thetragic tornness of human reality in a complex, alienated society and the soul’s simultaneous longing for blissful unity.

My work „Galloping Time“ deals with the state of time and the attempt to escape its unstoppable flow. How do I get away from the idea of time as a string of moments? In my work, I transport my own experience of the sublimity of emptiness, the pause of the time space structure through deep contemplation in the creative process of work.

„Man is a dark being. He doesn’t know where he’s coming from, nor where he’s going, He knows little about the world and least of himself.” Goethe My work „Gnothi Seauton“, an inscription on the Temple of Apollo in Delphi, deals with self-knowledge. The principle of self-knowledge as a condition of knowledge. It is the prerequisite for recognising the world and a basis for my artistic work.

My work „I unfinished“ is a self-portrait.

In my work „Triad“ I have dealt with femininity and trinity. The work is reminiscent of Greek mythology and female spirituality. The portrait combines the experiences and processes of the 3 stages of development: youth, adulthood and old age. I have represented this Trinity in my work by stratification and superposition and linked it together to underline unity in the Trinity. Trinagous means everyone is one.

The 3 graces are in the foreground of my work „Para Dig Men“. The 3 figures are a symbol of virtues and moral ideals. They are equal to the gods in their beauty and grace and belong to them as charites. I have tried in my work to capture the idea of paradise, where everything follows the pattern of beauty and perfection and order. I am convinced that we as a human family are always looking for this state and try to follow order with the help of paradigms, as a fundamental way of thinking. The word paradigm comes from the Greek and means example, pattern but also demarkation, explanatory model, prejudice or even worldview. The problem is that a paradigm shapes and narrows down our thinking in the structures of language, the theoretical guiding principles, and socially accepted questions.

The topic of my work „LOCATION 1&2“ describes the chair as a placeholder for our human existence. I have consciously worked with an empty space, with the lack of human presence, and the destruction of the chair as a seat and possibility of location.

The topic of my work „LOCATION 1&2“ describes the chair as a placeholder for our human existence. I have consciously worked with an empty space, with the lack of human presence, and the destruction of the chair as a seat and possibility of location.

In my investigation „Dame Vulva“ I have dealt with the tirelessly displayed female body in our Western society. I came to a realisation condensed on the core of the presentations. There are similarities between the way women and animals are seen and perceived. For centuries, women have been considered only partially human. They are perceived as too irrational, wild and uncontrollable, weak and dangerous at the same time. In my two abstract works „Dame Vulva“ and „Greetings to Louise“ I deliberately reduce the exhibition of femininity to fleshiness and animal reproductive attributes.

In my investigation „Greetings to Louise“ I have dealt with the tirelessly displayed female body in our Western society. I came to a realisation condensed on the core of the presentations. There are similarities between the way women and animals are seen and perceived. For centuries, women have been considered only partially human. They are perceived as too irrational, wild and uncontrollable, weak and dangerous at the same time. In my two abstract works „Dame Vulva“ and „Greetings to Louise“ I deliberately reduce the exhibition of femininity to fleshiness and animal reproductive attributes.

The „fire horse“ is a work for my personal self-empowerment. It is an expression for my inner decision to follow my artistic path consistently and with full passion.

The title of my work „the crown of exhaustion“ speaks for itself. Man is trying to escape himself. The search for solutions for our task of preserving creation and not destroying it presents us with incalculable challenges. The knowledge of this leads to busyness, fight or resignation and exhaustion. By rising ourselves and stylising ourselves to the crown of creation, we miss our chance to experience truthfulness, connection and constant energetic resonance with ourselves and our fellow creatures, i.e. our environment.