Sculptures

The being is one focus of the work of the sculptor Bronislava von Podewils.

It is about closeness in observation and freedom in execution. She depicts animals in all the media she chooses and materials she works in, such as cardboard, bronze and graphics. Yet von Podewils' motivation is different from pure representation or idealization. She is not interested in the lifelike representation of animals; despite that the animals always remain clearly recognizable and have been excellently observed by her before, she deviates from the purely realistic depiction in her shapes and forms.

The spontaneous and impulsive way of working, I develop an expressive, plastic language that gives their works great vitality and lightness. With her very own virtuoso creative ability, the animal is aesthetically interpreted.

Freed from the fetters of art history, von Podewils’ beings interact with the viewer on an individual level, owing to a sense of familiarity as if one seems to know them as neighbors. It is this free, unreal, and sometimes surreal level that invites the viewer to form his or her own interpretations and associations.

The layering provides the sculptures with durability, which in turn highlights the transience of the material. Corrugated cardboard, considered a disposable everyday item, was incorporated into the visual arts by Robert Rauschenberg in the 1960s as part of Pop Art. At that time, it was anchored in the context of the aesthetics of the commodity world, while in Bronislava von Podewils' work, only the fragmentary imprints that are found refer to its original use as packaging material.

It is precisely these fragments that underscore the transience, not only of the material itself but also of the overarching meaning, thus leading to an existentialist questioning of the works.

At the same time, the corresponding poses of the animals exhibit a lively diversity and the clear aim of her works is a symphony for life, celebrating vitality even in very difficult times in order to draw strength from it.

We tend to imbue human qualities into beings, and it is precisely this aspect that the artist plays with. A symbol or anthropomorphism for the relationship between humans and nature, and the relationship between humans and animals, is reflected in the titles of the works or exhibitions, providing pointers for possible thought experiments, humorously considered.

Exhibition titles like 'Clearly What Zebra Toothpaste Tastes Like' (2017), bronze sculpture 'Dancer' (2018) , or exhibition title 'Rabbit in Wedding Dress' (2021) illustrate this approach.

Marc Haselbach, fellow sculptor from Berlin, translation: Rebecca Rubel

The deep engagement with sculptural material and the teaching of disciplined observation of the subject in Italy has given her a keen sense of the essential. Bronislava von Podewils' works are sculptures in the original sense of the word. She stands opposite her model and builds the sculpture. She explores the essence of the counterpart and delicately models the features of the portrayed.

A new form emerges from nothingness.

This method contrasts with sculpture, where a figure is carved or sculpted from an already existing block, reducing the material.

The choice and approach of the artist in dealing with clay are derived from her observation. In the words of the British portraitist Lucien Freud:

I think a great portrait has to do with the way it is approached … it is to do with the feeling of individuality, and the intensity of the regard and the focus on the specific.

Bronislava von Podewils, similar to Freud or even Rodin, usually chooses her subjects herself. She emphasizes that her artistic motivation is often guided by a personal interest in her subjects and their characteristics, which are revealed through their presence or facial expression.

She captures her models in a moment. The head tilted sideways, as in the case of the girl or in the portrait of Ricardo, an old study friend: here, the face may express melancholy or longing.

Even her subjects looking straight ahead appear introspective. They radiate calmness, none of the arrogant pride of a portrayed person, as one might find in earlier centuries, but rather a modesty and honesty.

The artist says she seeks 'encounter moments' unposed and directly taken from life. "Just as we humans are." Her children's heads are again a chapter, they represent a declaration of love that begins with the bust of Oskar 2001, her first child, and is continuously renewed. Such as the bust named 'Vampire' from 2014 and most recently with 'Boy' from 2017. Vampire? Yes, vampires are warmly welcomed by Bronislava von Podewils, like all other creatures.

Sasha Kuora, fellow Artist from Baden-Baden