Zur Kunst / Artist Statement
Annette Wendling-Willeke, Innenarchitektin und Künstlerin
Ich habe viele Jahre als Innenarchitektin in Deutschland, Australien, Sri Lanka und Katar gearbeitet und fing 1996 an, zu malen. Als Innenarchitektin verhelfe ich der Person Anderer zu räumlichem Ausdruck, als Künstlerin kann ich meinem Herzen folgen und frei kreativ schaffen.
In den Jahren zwischen den Kulturen habe ich viele Lebensformen erlebt und bin fasziniert von den vielen Möglichkeiten, Leben zu gestalten. Meine Innenarchitektur ist zeitgenössisch, modern und nimmt Bezug auf die direkte Umgebung und die Vorgaben des Auftraggebers. Meine Kunst begründet sich in der Reflektion über sich ständig verändernde Umstände, den Wechsel & die Entwicklung als einziger Konstante und den Lebensweg.
Ich benutze Acryl- und Gouache-farben, Buntstift, manchmal Kohle und Pastellkreiden, Bildtransfer- und Collagetechniken – auf Papier, Leinwand, Holz oder Stein – und arbeite in vielen Schichten an meinen Bildern.
Annette Wendling-Willeke, Interior Architect and Artist
I have been working for many years as an interior designer in Germany, Australia, Sri Lanka and Qatar. As an interior architect and designer, I help others to find spatial expression; as an artist, I am free to follow my heart and create freely.
In the many years living between cultures, I have experienced many different societies and I am fascinated by the many possibilities to express life. My interior designs are contemporary and modern and relate to their direct surroundings and client briefs. My art is based in the reflection about ever changing circumstances, change and development as the sole constant and the course of life.
I use acrylics, gouache, colored pencil, sometimes charcoal and pastel crayons, image transfer and collage techniques - on paper, wood and stone - and work over my paintings in many layers.
Thoughts about my art
‘Strange Wonders 2’
Under a sea of dust & stones young pioneering Qatari men unearthed the riches of their land, oil and gas with their hard work – .
The stones used in the installation are taken from the Qatari desert and suggest the harsh reality faced by these men at the time. The acrylic hands - with 'Henna'patterns designed from tools - allude to the idea of gas (the very foundation of Qatar’s wealth today) and - of course - to the idea of hard work of so many without which none of what we see today would have materialized.
'Dohaesque’ Collages and ‘Digital World’
From one detail of a painting as a starting point develops a series of digital work. Hues found in the gulf sands and waters and the black and white of female and male attires in Qatar appear.
Digital work and earlier paintings are dissected, cut and re-assembled in collages reminiscent of geometries found across Arabia.
A timid knocking at the door of a new world slowly unraveling its mysteries and charm. Arriving perhaps?
Hidden under a sea of stones covering the landmass of Qatar, the early pioneers – young Qatari men – found and unearthed, an, at the time, unknown future for their country. Today this is manifested in a display of unfathomable wealth, iconic buildings and a skyline to behold. A strange wonder indeed!
‘Between Cultures - Masks’ and ‘An Obsession’
Living in society is a never ending play with each of us assuming roles in almost every situation, and many of these roles require an external identifier.
We may dance around a fire with a ceremonial mask and head cover, judge in a court of law dressed in a robe and wearing a wig, be at a carnival and rejoice in shocking others with scary face masks, lay on our daily make up, or wear a batula – a protective shield is put between us and the world. Masks are used in every society, colorful and very visible in some or subtle and almost unnoticeable in others. They may inspire, bewitch, enchant or haunt us.
‘The essence of life’
Where do we come from and where do we go? A spiritual quest, unanswered question at the bottom of it all.
Moving from a lush tropical island with its abundant greens and scents and the never ending cacophony of bird sounds to the desert with its hues of beige and rose and brown and the constant noise of traffic – a mighty challenge. The eye longs for color, the nose for the scent of Jasmin, the ear for the sound of a Coucal…
‘A sunny day in Jaffna’
Walls are the envelop of our buildings, our shelter. They are supposed to protect and shield us from adversities. They witness our lives, our laughs, needs, fears, and deaths. Can they tell the tale of what they saw?
Like our skin, walls age, get wrinkly and bear scars. Layer upon layer of old paint flakes off to reveal the below. Open brickwork is dilapidating under cracking plaster. Moss and creepers cover up the gritty - yet very picturesque – surface. They cast a shadow on the once flawless wall, hiding the signs of age like a veil may screen the face of a beautiful old lady or of a widow.
Once upon a time a married couple raised their children in the security provided by a wall. They lived a life like did their neighbors.
Bullets hit the wall and left their marks. Those now catch the sunlight and create a colorful pattern with different shapes and depths - some few small ones only over here, a big one over there. Some are so close together that they have merged and now are one big gaping hole. Some are shallow, others very deep and some go even through and through.
A sunlit scene and almost pretty - until we close our eyes and imagine – the noise, the screams, the smells, the fear, the pain, the horror prevalent at the creation of these marks. How would they look on our skin and flesh and bone?