A Process of Growing and Changing
Christiane Gossel`s artistic path has taken her from wood sculpting and
metal sculptures to working on paper.
Her compositions emphasize the depiction of the form and expressions
of the human body as manifestation of the mind`s thinking.
The solidity inherent in her initial compositions represent a quest for transparency and translucence, bringing the surrounding space into the foreground. The sculptures depicted space by the joining together of a series of wire rods. These rods marked the beginning of her interest in the line as a medium.
Sculpture later gave way to paper as medium of expression, while her work took a crucial step beyond three-dimensionality – the familiar environment of the beholder – into a space free from static law.
A sheet of white paper forms the foundation for an unlimited range of possibilities.
Seen from a material point of view, it is a two-dimensional surface; while from an immaterial perspective, it is space without limitation.
A concentration of lines brings form into being, which in turn dissolves.
The hands which are the subject of Christiane Gossel’s work between 2007 and 2012 epitomize the ambivalent play between limitation and dissolution; how that which is thought becomes manifest, to be captured at the very moment of its dissolution. The observer experiences simultaneousness, but also the flow of a sequence of individual moments.
“ONE MOMENTS”, completed in 2013/2014, sees the addition of silkscreen coloring to the drawings. “This is a quest to characterize ‘non-form’ without considering that non-form itself needs form”, she says. They are mutually dependent. Thinking and human existence are vividly portrayed as an interplay of color and line.
In 2015, Christiane Gossel is inspired by a relief technique found in Tibetan Buddhist art, in which colored silk is fitted onto strips of paper which in are then pieced together to form figures which would traditionally have been painted. Boundaries are formed here not by means of lines, but by the color variations of the silk strips used in this collage-esque technique.
She adopted and transformed this technique as a further artistic medium.
Her first piece is a white collage in which paper strips are placed beside one another so as to form lines; the composition causes individual, independent elements to appear as parts of one whole. Imaginary lines appear as a result of the three-dimensional elements.
Following this, she combines the relief collage technique with lines. The perspective changes continuously; at times the three-dimensional edges of the paper elements dissolve into the whiteness of the base; at other times the lines appear as incisions, leading to open space at the back.
A play between different levels.
Christiane Gossel’s pieces are invitations for reflection: to become aware, in the midst of our ordinary lives, of what reality actually is.
I grew up in an artistic environment. My father Hans Bernhard Gossel was a glass painter. He directed the Glass Painting Department at the Städelsches Kunstinstitut in Frankfurt/Main from 1956 to 1966. In 1960, he founded the "Atelier Glasmalerei Gossel.
My artistic path led from wood sculptures to metal sculptures to works on paper and on canvas.
In the beginning of my artistic work, I was focused on an abstracted figurative form, motivated by Homo Sapiens, a thinking being .
The initially massive form in my work increasingly strived for transparency. Working with metal in the form of thin metal bars soldered together, I often hit static limits: The sculptures fell apart. This disappointing development caused me to leave my familiar environment and experience. In fact, it was the beginning of a new path. My interest in the drawn line on paper grew as a result.
A sheet of white paper offers all the possibilities. Materially it is a two-dimensional surface, immaterially it becomes an unbounded space.
I have experiemented a lot with different techniques on paper, such as etching and screenprinting
The Line that shapes the meditative nature and also the background thatgives the line space has become the subject.
I work primarily on a processed white, almost monochromatic surface, on a linen or cotton canvas. Not focusing on one point, but on several subtle, thin layers of drawn lines. (acrylic and watercolor) I call it the subtle layering of perception. Multiple subtle layers of perception on top of each other with light color elements not only form the starting point for the line(s) drawn with graphite/pencil,but they also form an intensive perception perception of space. The material in itself and the manipulation of the canvas present a new challenge each time.
Simplicity and clarity are found in an extensive and lengthy painting processes: The line grows out of this complex process in a contemplative atmosphere.
Presumably,the process of painting is as complex as the effort of the viewer to open up to the contemplative content.
The line drawing reminds me of an almost sound of space that apperas at some point.
The line connects the indirect with the immediate; The line refers to itself it documents nothing.
The line has become an indefinable movement, rapidly advancing to the limits of our consciousness, obviously the line is at the origin of our gestures and feelings . The movement of the line becomes a metaphor for this mental process for both the artist and the one hoe is looking at.
I consider my work to be reflection for this time with its rapidly changing images. My work call for slowing down, taking a step back and then looking forward.
My artistic path led from wood sculptures to metal sculptures to works on paper and on canvas.
In the beginning of my artistic work, I was focused on an abstracted figurative form, motivated by Homo Sapiens, a thinking being .
The initially massive form in my work increasingly strived for transparency. Working with metal in the form of thin metal bars soldered together, I often hit static limits: The sculptures fell apart. This disappointing development caused me to leave my familiar environment and experience. In fact, it was the beginning of a new path. My interest in the drawn line on paper grew as a result.
A sheet of white paper offers all the possibilities. Materially it is a two-dimensional surface, immaterially it becomes an unbounded space.
I have experiemented a lot with different techniques on paper, such as etching and screenprinting
The Line that shapes the meditative nature and also the background thatgives the line space has become the subject.
I work primarily on a processed white, almost monochromatic surface, on a linen or cotton canvas. Not focusing on one point, but on several subtle, thin layers of drawn lines. (acrylic and watercolor) I call it the subtle layering of perception. Multiple subtle layers of perception on top of each other with light color elements not only form the starting point for the line(s) drawn with graphite/pencil,but they also form an intensive perception perception of space. The material in itself and the manipulation of the canvas present a new challenge each time.
Simplicity and clarity are found in an extensive and lengthy painting processes: The line grows out of this complex process in a contemplative atmosphere.
Presumably,the process of painting is as complex as the effort of the viewer to open up to the contemplative content.
The line drawing reminds me of an almost sound of space that apperas at some point.
The line connects the indirect with the immediate; The line refers to itself it documents nothing.
The line has become an indefinable movement, rapidly advancing to the limits of our consciousness, obviously the line is at the origin of our gestures and feelings . The movement of the line becomes a metaphor for this mental process for both the artist and the one hoe is looking at.
I consider my work to be reflection for this time with its rapidly changing images. My work call for slowing down, taking a step back and then looking forward.
Over time, my work has changed into a quiet meditative subject.
CV and Exhibition (selection)
1960
Born in Frankfurt/Main, Germany
1980
Abitur Gymnasium with Diploma,Justus-Liebig-Schule in Giessen
19881-82
Internship at the City Theatre Giessen for stage design
1982-84
Training in woodcarving /sculpturs completed with diploma inTann/Rhön/Germany
1984-86
Worked with various sculptor
1986-88
Studied in sculptur and designe at the Werkkunstschule für Gestaltung Flensburg completed with Diploma
1988-90
Teacher for painting and creative work at the Marburg School for Occupational
Therapists MSE Marburg
1989-92
"Kunst im Knast', Justizvollzugsanstalt Butzbach/Frankfurt, working creativeley with prisoners, project that started at the University Giessen/Germany
1998
Moved to Arnhem
2006
Masterclass in Photopolymer etching at the Amsterdam
Graphic Workshop [AGA] in Amsterdam /NL
2009
Employee at the Herbergier Arnhem/NL ,working with people suffering from dementia
2010
Silkscreen workshop at the Amsterdam Graphic Atelier (AGA), Amsterdam/NL
Exhibitions (selection)
1990
- Membership BBK, Berufsverband Billdender Künstler, Hessen(g)/Germany
- Mousonturm in Frankfurt am Main
- 'Grenzbereiche', Stadthalle Giessen
- Progetto Civitella D`Agliano, Italien Monte Forato with Gertrude MoserWagner with subject "Nature" mountaineering as own experience and subsequent presentation,founded by the department of Science and Art/Wiesbaden/G,documented in SynapsesForato
- Kunst am Kino, Kino Traumstern, Lich/Hessen/G
1992
- Galerie Kunstraum der Reiter in Valencia, Spain
1995
- Three months artist in residence, Kunstkreis Meppen Emsland/G focus on work in wood, followed by giving a workshop sculpture,
- Interactive work with improvised music by Frank Rühl,free jazz guitar,an slide projection, performed at Kino Traumstern/Lich/G
- Kunst 96 Zürich/International Art Fair /Switzerland
- Exhibition in the Galerie Kunstraum Der Reiter in Valencia/Altea three months artist in residence in Altea/Spain
1997
- Buitenkunst-Bienale Sittard (g)/NL
2000
- 'Great Drawing Festival' Kunsthuis 13 in Velp/NL
2001
- Gallery Klas Vijf, Velp Gelderland (g)/NL
2002
- Galerie Vlasblom, Arnhem (g) /NL
- Galerie Forma Actua, Groningen(g)/NL
- Graphics in the Historical Museum Arnhem (g)/NL
2007
- 1st Frisian Mini-Print Biennial 40 x 40' in Leeuwarden (g)/NL
- JAJA Gallery, Amsterdam (s)/NL
2008
- Galerie JAJA, Amsterdam(s)/NL
- Atelierroute Amsterdams Grafisch Atelier AGA (g)/NL
2009
- Galerie Klas Vijf, Velp, Gelderland (g)/NL
- Gallery JAJA, Amsterdam (g) NL
2012
- Membership of the Syrlin Kunstverein E. V. International,Stuttgart/G
- 'Entdeckungen', Galerie im Zentrum, Stuttgart Syrlin Kunstverein (g)/G
2013
- Presentation various silkscreens as part of the 'Hand Therapy Symposion in WTC Rotterdam/NL, solo exhibition
- Participation in the art auction inspired by 'Carmina Burana'by Concordia in
- Guest artist in the studio of sculptor Ruth Vulto-Gaube,Art route Workum /Friesland/NL
2017
- Exhibition 'Escape's' at the Kreuzeskirche in Essen (s)/Germany
2021
- KV2 The Hague,participation in changing Collection Presentations Bos Fine Art/NL
2022
- Duo exposition in Gallery Utrecht, Erasmuslaan 5,Bos Fine Art /NL
2023
- Participation in changing Collection Presentations,Bos Fine Art, Utrecht/NL
2024
- Art Gallery Now, Groepexposition, Berlin Fasanenstrasse
2025
- "Nieuwe Liefde" 12 -04-2025 - 12 05 2025, Participation and acceptance as memeber of the artist community Nieuwe Liefde, Utrecht /NL