Gabriele Musebrink is interested to find the essential. With her deep knowledge about natural painting materials, she brings those together on canvas. The qualities of the materials make them react in different ways. For example the surface starts to move until it breaks open. Like an alchemist she transforms material and lifts it to art. Since 1995 she is represented at numerous exhibitions, she also leads an art school in Essen and seminars all over Europe. In the recent years she has become increasingly present at international art fairs and in important collections, e.g. the Art Karlsruhe and in the collection of the Ministry of NRW.
Becoming and Decaying
Gabriele Musebrink’s work concentrates on filtering out the essential, that which is behind the appearance. More than 20 years ago, there was a moment when she realized what her topic was, because she wondered why she always worked on something, only to destroy it again. Recently she was working on a painting and after a strong inner-struggle the words which capture her subject arose: becoming and decaying.
In her there is a quiet, thoughtless dialogue, and a confidence in knowing that the point will come when she is called upon to act. The process of painting, which is mostly explosive, can be seen as a continuation of the previous process. The technical approach is less important than this part.
She enters a process of communication with her material. She brings surfaces together in motion, and various materials in tension, until the surface ruptures. The artist surrenders to the process of becoming, being guided by the material of the colors and giving space for the material to create the painting together.
To develop her themes she found her own technique. The unique and new quality in her approach is that she paints into the wetness of the painting itself. Because of this, the materials used are on one hand traditional, such as black ink, pigments dissolved in oil or just pure shellac and wax. On the other hand she uses unorthodox materials such as earth, which she collects herself in different regions, and building materials such as slate. The thick paste forms a plastic, relief-like surface that is reminiscent of a savage landscape with torn areas of erosion. This effect she achieves also through the colours, which are affected by the use of soil, sand and minerals. Inspired by nature, it is important for the artist what lies behind the appearance. This creates a powerful, profound and yet joyous vitality to her paintings.
Through the surfaces her works move between the two-dimensionality of the picture, and the three-dimensionality of the material forms. The painting materials in the paintings become noticeable, which is something that emerged in the modern era, because until then it was kept almost invisible in the background.
With the beginning of the modern era color was applied in relief almost like plastic, e.g. the brush stroke of Van Gogh or the use of the palette knife was distinct. Other artists such as Picasso and Braque inserted cardboard and wood chips into the paintings, to give space for the painting material to have its own language.
With Gabriele Musebrink we see the powerful gestural engagement, and we are led into the primeval world of image formation. Spatial perception is no longer, as before, changed through the illusion of perspective and color zones, but one can experience it through touch and through the relief.
The process becomes chronological and understandable in an almost archaeological manner; the layers of wet and dry binders and building materials, the moment in which pigments have been sprinkled, and the process of applying and removing.
The results are paintings that are reminiscent of the surface of parched landscapes, with erosion cracks and lava flows.
Others are like the surface of rocks, which are shaped by different seasons and influences: overgrown, dried up and washed out. In her development, the artist came from a background of using black and white, and that’s why a deep black is added to the earthy colors, which she calls ‘Zen line’, that can not be changed and gives powerful shapes.
The artist questions herself in meditating in an Eastern Zen tradition about other transcendental dimensions. An example of this is her series entitled ‘Haiku’ on silk gum paper. The haiku is a Japanese form of poetry, which is characterised by being particularly short. The traditional poems are devoted to nature, and point to a season – her work often begins with a moment when she suddenly notices something in nature. Another suggestion for reading the abstract paintings of the artist, is the defining feature of haiku poems: they are not finished, but open texts that are completed only in the experience of the reader. This important role she offers to the viewer.
Another series of works of the painter is the Himalayan series, which is characterised by unusually versatile colours. It was created after a tour she went on, which actually came to a life and death situation. During this trip she also found a connection to the colours of the Tibetan people, which includes the use of gold.
Her work reflects the universal laws and people‘s questions. In the span of life and death experience we experience different stages, phases and processes, which are ever-changing – because life is movement and thus means change. So her pictures are the current result of traces and transformation processes. Each one of her works is the essence of a unique and unrepeatable moment.
Gabriele Musebrink consciously opts for a way of working in which she has to rely totally on the moment. She says:
‘It’s not about me, but what is expressed through me, it wants to show itself, and becomes form. No more and no less. The underlying chord that remains in me is just silence and joy.‘
|1955||Born in Essen|
|1975||until 1983 art studies at Folkwangschool in Essen-Werden and at the university of Essen; graduation at Prof. Sturm und Prof. Gräsel, subject area: free graphics, photography, plastik und room installation|
|since 1983||freelance as (graphic) artist,
Exhibition design for the
bishopric Essen, the old synagogue of Essen, archaeological Museum Altenessen u.a.
|1984 till 1992||exhibition designer in the Ruhrlandmuseum Essen with a focus on interior design and graphics|
|since 1992||freelance artist and designer,
living in Essen and until 2002 in Montescudaio (Italien)
|1996||Foundation of the Hofwerkstatt in Essen with its own art school Musebrink,
a cultural institution for art and aar Eastern movement and concentration disciplines
|since 2004||public art demonstrations and advanced seminar activities in Witten, Münster, Düsseldorf, Hamburg, Nürnberg, München-Forstinning,
Bad Reichenhall, Amsterdam (NL), Sauve (F), Wien (AU), Herisau, Horgen bei Zürich, Unterentfelden und Münchwilen (CH) as well as in Italy (Piemont und Toskana) and France (Ardèche) u.v.m
|Exhibitions (Selections) since 1995|
|2018||Galleria Stara Prochownia, Warschau (Polen)
GALLERY LUZIA SASSEN, Siegburg
|2016||Flow Fine Art Gallery, Hitdorf|
|2015||AAF – Affordable Art Fair Milano, Mailand (Italien)
Flow Fine Art Gallery, Hitdorf,
‘Power of source‘ Art3f Paris
International Contemporary Art Expo
Paris (F) Asia Contemporary Art
Show Hong Kong (China)
|2014||Galery 7TIEN49, Nuth/Maastricht (Niederlande)
Galery Edurne, Madrid (ES)
|2005 -2012||Flow Fine Art Gallery, Hitdorf
Artteams, International exhibition Oostende (Belgium) „The Art Lounge“
Academie Mont Cenis, Herne,
Maison des Comtes, Sauve (France),
„L‘Art d‘inattendu“ artteams, Coop Bank, St. Gallen (Switzerland)
„Pigments“ Gallery of the national theater of Bukarest (Romania)
Gallery Aktionsgalerie – Mori Ogai, Berlin
Gallery Marin, Den Helder (Netherlands)
Gallery OREA, Berlin
City theater Luxembourg (Luxemburg)
Gallery Kreativ Kontor, Essen
Theater im Depot, Dortmund
„Art from the roof“, Basel (Switzerland)
City Gallery of the Museum Folkwang
Kairos New Art Gallery, Munich
„ArtBook“+“Metamorphosis“ Regional museum Zons, Dormagen
|Ministry of Culture and Science of NRW, Germany
Stiftung Abendrot in Basel (Schweiz)
Museum of Paper in Bergisch-Gladbach,
Permanent Exhibitions in the garden of the environmental center of NRW in Bergkamen, Germany
Project of the IBA-Emscherpark
Flow Fine Art – Collection of the Gallerie, Hitdorf
Collection Takx, Nuth (NL)
Clinic Ludwigsburg (D)(CH)
Series Bhutan 2
40 x 40 cm
140 x 70 cm
100 x 120 cm
60 x 80 cm
Norge Light 11
50 x 150 cm
30 x 30 cm