Sunrise Tree House

Figghia mia

"Little Boggart" is a clay sculpture that captures the whimsical manifestation of inner fears. The artwork portrays a charming embodiment of anxiety, with the small boggart playfully keeping watch over the home. It establishes a connection with nature through the incorporation of wooden patterns and parts of a tree, adding an organic and grounded element to the piece.

The juxtaposition of the funny form and the protective role of the boggart creates a unique and intriguing narrative within the artwork.

Little Boggart

P A T H O S   X

_Heavy Drag_ is comparative analysis of the concept of friction. Upon reentry a space vehicle is subjected to 1000's of degrees of heat and requires immense engineered protective insulation to survive the trip. This intense heat is generated through the high speed friction of our atmosphere, ironically an insulating layer itself to the planet, but is also the force that allows the vehicle to slow enough for safe landings. Comparatively, the emotional frictions of the human experience also produces heat within the soul through our toil and strife. These experiences of unrequited or lost love, fear in the face of the seemingly insurmountable, or depression in depths of despair often are the catalyst to personal growth, fiery rebirth and proliferation of artistic expression shown here through poems and music or literary references.

Heavy Drag

The work has variable dimensions as it can stretch and coil according to the display area.

Gorgon IV

L'Avertissement, known as "The Warning," stands as a foreboding masterpiece that whispers of impending doom and the harbingers of fate. Each stroke of the brush carries a weight of urgency and unease, as if the very fabric of reality is fraying before our eyes. With an ethereal light casting long shadows, the painting seems to beckon towards hidden perils lurking just beyond the veil of perception. Through its evocative imagery and haunting symbolism, L'Avertissement serves as a chilling reminder of life's fragility and the inevitability of our own mortality.

  
The plot of L'Avertissement unfolds like a grim prophecy, blurring the lines between reality and nightmare. It traces the journey of a solitary figure through a world teetering on the edge of collapse, haunted by visions of an impending apocalypse. Each brushstroke narrates a tale of fear and uncertainty, as the protagonist grapples with the weight of mortality and the enigma of what lies beyond. As viewers delve into the depths of the painting, they are ensnared by a surreal realm of twisting shadows and morphing shapes, where danger lurks in every corner.

  
L'Avertissement finds connection with other works in Wolf Dé Roses' portfolio through its exploration of existential dread, cosmic horror, and the human psyche. It forms part of a cohesive narrative delving into the darker recesses of the human imagination. In the broader context of the artist's body of work, L'Avertissement meditates on life's fragility and the ever-looming specter of death. It aligns with other pieces that probe the mysteries of the universe, urging viewers to confront mortality and contemplate the essence of reality.

  
The consequence of engaging with L'Avertissement is a profound sense of existential dread and awe, as viewers grapple with life's mysteries and their place within the cosmos. It serves as a stark reminder of life's transient nature and the inevitability of death. Through its haunting imagery and suggestive symbolism, L'Avertissement leaves an indelible imprint on the soul, inciting introspection and self-examination. It impels us to confront mortality and cherish life's fleeting beauty, even amidst the shadows of uncertainty and fear.

  
Patterned with cosmic horror and existential dread, L'Avertissement blurs the boundaries between reality and nightmare. It echoes swirling shadows and spectral apparitions, hinting at the boundless mysteries of the universe and humanity's insignificance in the face of eternity. Each brushstroke is a testament to the chaos of existence and the enigmatic nature of reality. As part of the broader narrative woven throughout Wolf Dé Roses' body of work, L'Avertissement serves as a stark reminder of life's ephemeral nature and the enigmas veiled beyond reality's confines.

  

L'Avertissement

Step into the vivid, chaotic, and captivating world of New York City with our mixed media (and title cover of our new Coffee Table Art Book Series, **First Impressions**\-_shameless plug here_) **_Written All Over Her Face_** features sliced and diced imagery from our favorite magazine, The New Yorker. This piece tells a thousand stories in one as seen through these eyes and each carefully collaged piece is crafted to create an eclectic cadre of poignancy, literacy, and wonder. Archival varnish, glossy finish on 300lb Kilimanjaro watercolor paper.

Written All Over Her Face

The Bahnhofsviertel, which translates to “train station quarter” in Frankfurt, Germany, captivated my senses. Renowned as the red light district, it is peppered with quintessential visuals of "sex hotels." Amongst the neon glow, the "Bistro My Way" sign seized my attention and inspired the foundation of this painting. In this piece, a blender, a fish, and various other components hover, their significance open to interpretation by the observer. This artwork continues my exploration of collage, a juxtaposition of functional and non-functional elements, drawing from pop art traditions to unveil a world awash with dysfunction.

Bistro My Way

The motif of the painting is digital data generated by the citizen-participatory AR project "wawwd ; We are what we do". The 3D data was combined with a CG bird's eye view and a part of 2D image, and dropped into the canvas. The connection of the rings is a metaphor for society and its public nature, such as "not belonging to anyone but also belonging to me. In fact, the painting is also a public digital architectural archive, since the rings were generated by an AR application with someone's involvement.

wawwd

Throne Chair 

Please contact sue@athertongreen.art for availability 

"Are we nearly there yet?"

This work is from the series dedicated to the amazing city of Berlin where I’ve been living for over the past 10 years.

This one is called „yes“. It signifies the times when I said yes to moving here and to my new life.

Untitled 

The traditional cosmology held by the Lunda in Zambia and Dogon of Mali, inspired me to take it to another level where the masquerades become astronauts they know how to get to space and read the constellation using indigenous wisdom. Here they safe landed with a massive celebration here on earth, Just stretching my mythological perspective. 

THE AFRONAUTS

**Leonie Brandner, Antje Dahte, Itsthevibe, Daria Jelonek, Lukas Liese, Lena Policzka, Anton von Heiseler, Cindy Wegner, Lina Zacher**

  
It is the aim to develop a meaningful symbiosis between ecology, globalization and artistic practice. Contemporary art can therefore work as a wake-up call for climate and environmental protection, which makes devastating images of climate catastrophes and destruction visible.With this in mind, the exhibition title “Biopsy” refers to the Greek words bíos “life”, and ópsis “seeing”. To conduct a biopsy means to examine tissue samples of a living body. In the manner of pathology, where the removed bioptates are examined under a microscope, the selected artists aim to analyse a certain aspect with the help of art. The spectator should be activated to discover the presence, cause, or extent of the disease.It is essential to use the tension between catastrophe and aesthetics in a productive way. Art and culture can take responsibility in this debate by addressing problems in an artistic way, pointing out visions for a sustainable future.

Biopsie (by artburst berlin e.v.)

Iskidano Nebo

Made from a high-resolution photograph of an imprint in a patch of wild grass where a coyote had slept the previous night, Washington, USA.

Imprint, 2020

As a young adult, I was abusing alcohol and spending too much time with unavailable men. Much of my daily angst was documented in my 1992 journal and years later, when I reread my words, I realized how much shame had consumed me. I removed the pages applied ink and wax, cut them into squares and stitched them back together, not as they were but as something new. The process was healing and allowed me to release the shame I felt and simply let the past be. 

  

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