Künstlerbiographie Sieglinde Wagner 1070 Wien, Neubaugasse 76/19 Tel.: 0043 660 40 71 205
1961 in Ampflwang geboren Studienaufenthalte
Diplom in Malerei bei Paul Rotterdam, New Yorker Maler; Holzschnitt bei Prof.Donin, Aktmalerei bei Mag.Art.Morawitzky, im Künstlerdorf Neumarkt/a.d.Raab; „Visionen“ bei Yolanda Tabanera und Ganzkörperplastik in Gips bei Peter Rübsam, Europäische Kunst Akademie Trier; Norddeutschland, Frankreich, Italien, Mexiko und Südengland. Seit 99 vom BMUK anerkannt als Künstlerin, Diplom zur Kunsttherapeutin beim ÖAGG in Wien Mitglied der IG Bildenden Kunst Wien;
Zeichnung und Akt intensiv bei Zeger van Soest, holländischer Maler
12 „The Substance of Abstraction“ Agora Galery New York
08 „Vierwerk“, Gemeinschaftsausstellung WUK Wien
07 „Allweibersommer“, Gemeinschaftsausstellung unik.at, Wien 07 „Spurensuche“, Centro 11 Wien
05 „Ganzkörperplastik in Gips“, Gemeinschaftsausstellung Europäische Akademie Trier
03 „Landschaften“, Ausstellung im Projekt unik.at, Wien
02 „Visionen“, Gemeinschaftsausstellung Europ. Akademie in Trier 00 „Figuren“, Kirchenwirt in St.Johann / Hohentauern
99 „Weibliche Figuren“, Galerie Schwamberger Ampflwang im Rahmen der Frauenkulturwoche OÖ
98 „Frauenfiguren“, Frauengesundheitszentrum Graz
97 „Die Seele denkt in Bildern“, BFC Metahofschloß Graz
96 „Geist und Kunst“, Buschenschank Klockerhof Stmk
94 „Frauenfiguren“, Frauenhaus – Fraueninitiative Graz
93 „Figuren“, Cafe Comod in Graz
92 Gemeinschaftsausstellung Schloß Seggau, Stmk.
84 „Figuren“, Amerlinghaus in Wien
16 Kunstcoaching für angehende KünstlerInnen
12 bis heute: : Themenbezogene Malworkshops in Wien
08/09 Malworkshops „Die Seele denkt in Bildern“ für Menschen in sozialen Berufen Graz
07 Kreativworkshop „Immer wenn ich male, tanzt meine Seele“ für Menschen in sozialen Berufen
06 Kreativkurs für Kinder – Malerei, Plastik und Trommeln in Timelkam, OÖ Malworkshop „Immer wenn ich male, tanzt meine Seele“ in Bad Ischl
04/05 Ausstellungsprojekt „Seelenlandschaften“ für Menschen mit besonderen Bedürfnissen Wiener Hilfswerk
03/05 Mal- und Grafikworkshop im Projekt Unikat Wien
01 Trommelworkshop Projektwoche für eine VS Klasse auf Schloss Klaus
99 „Migration“, Mal- und Skulpturen-Workshop mit südamerikanischen und österreichischen Frauen im Rahmen der Frauenkulturwoche Linz, OÖ
99 „Angst und Aggression“, Malworkshop mit albanischen Flüchtlingen und afrikanischen Migranten in Graz
98 „Die Bildersprache der Seele“, Kunsttherapie-Workshop für Menschen in sozialen Berufen gemeinsam mit Susanne Bulfon im Schloß Ulmerfeld
98 „Kreislauf“, ein Kunst-Projekt gemeinsam mit Claudia Gaksch im Schloß Wiligrad, Mecklenburg
96 „Die Simpsons“, künstlerische Gestaltung einer Friedhofsmauer mit Jugendlichen in Graz
95 „Immer wenn ich male, tanzt meine Seele“, „Die Sonntagsmaler“ Mal- und Kreativworkshops mit Menschen in pädagogischen Berufen
My Work is a fixed moment of a curiosity that I have chosen to form.
Before I am creating in a process, I study with my inner soul
the being of the object of the creation. I see with my inner eye.
During my painting the dialogue is most important beteen me and my work. My hands are doing and at the same time I am lost in contemplation. The room between is full of unknown wisdom that comes to me. But this is not to be told - it is a no-go to form these words. In reality there are not enough words to tell what is going on.
To understand the here and now I sometimes overpaint my work with a white colour so that the here and now has the future where a possibility is given to a change: To change the here and now into a new form of future.
Artist Statement 2016
My works are situated in the overlap between art and art therapy. I’m interested in the inner life of human emotions and living contexts. During the creation it’s very important to me to have a dialogue not only within myself, but also with the image.
Abstract painting, abstract drawing and figurative creations
Sometimes I simply get started with the materials at hand and completely give myself over to the process of creation, without knowing what the final product will be or what I want to say with this work.
Oftentimes the meaning of what I’m doing only becomes clear to me as I’m working or even after I’m done. From the subconscious to the conscious. The question here is whether my artistic work has a therapeutic effect, of whether the therapist in me demands an artistic expression.
Ink drawings, created from the subconscious without stopping, such as “The Black Hole”, “Irritation”, “Body Face” or “Body Wisdom” – as well as animal images, which emerge from deep inside me as if from a dream, came to be without any plan to depict or create anything. The only thing I prepare is the material.
The space appears in undesigned activity. It requires a certain absence of thought – meaning I deliberately try to forget what I know from the moment I begin to draw in order to focus completely on the process of creation. The results are often a surprise even to me, because my hand is guided by something other, higher, unknown or not-yet-known. The messages of my own art often catch me off guard.
The dialogue with the “finished” drawing is a central element. It helps me to continue the thoughts which have come up as I gaze at the work, and to create another image – my images create me, they fuel new thoughts, which in turn create new works – a continuous circle of imagery and creation flowing into each other.
My figurative works are created in temporal cycles. That means there are series of female nudes, seeking a discussion about the reclaiming the female view of femininity, such as in “Female Nude Inner Life”, “Female Figures”, “Yoni Origin”, “Original Memory”. Figures of goddesses such as “The Female Ancestors of Venus” and the “Ouroborus” series hark back to partly forgotten matriarchal social structures, which have been buried under a patriarchally structured civilization and have already been partly snuffed out.
From interesting works of old masters, I create new image ideas, such as “Europa and the Golden Cow”, “Mother or the Expulsion from Paradise” or “The Liberated Woman”. Old images are re-interpreted in the now and provoke a re-thinking of old structures and conditions.
The contrast between the artificial and the natural inspires me. In my photography I capture seemingly unnoticed natural forms, which can be seen in my series “Tree Traces”, “Yoni Illusions”, and “Beaver Bites”.
My preferred materials are pipe cleaners, broken and discarded items such as footballs, and many other things, as well as painting materials such as goache colors, oil pastel crayons, ink, pastel crayons, oil.
My preferred techniques: painting with various techniques, sgrafitto with hands and tissues. In order to understand the now I sometimes paint over the past with white paint. This way something new can emerge from the present.
Expectations: As an artist and art therapist I move in a landscape that uses art and aesthetics as a means to bring balance to what has become unhealthy or fallen into disorder. To make the internal unconscious visible on an outside. Sometimes this leads to new melodies or rhythms, which I transfer to instruments such as Berimbau, Tschanggo or Sansula. I’m interested in the inner life, the expression of the soul, in a world of diversity.
A Figure is looking away from the observer - into a wide hellblue landscape. In her back is a table who is carried by an apple. It seems that nothing is normal - the table should carry the apple not being carried by the apple. In the front on the ground of the painting is a curtain. The sight to mothers figure is open. She is naked in her vice versa world. The red circle is what it is - a strong colour painted on the skin of the mother. the viewer maybe falls in a dialog to this red circlepoint - it is a secret for all of us - the relationshop between us and our mother!
I am a woman artist. My view on a body of a woman is with the eyes of a woman - so I paint the body from Modigliani with the awareness and the eye of a woman. The idea to the figure is universal - also should the painters - egal if woman or man - be universal and respected - we all live in the same world as menkind and artists of our own life.
Europa is a godess in the old world of greece. She is the red figure sitting upside down the cow. In history she is riding the bull. The golden cow is standing for wealth. Europa has a lot of ressources and a very good social system - the cow is looking static and looking to the left side of the work - this is the side of the perfect. Europa is looking up and to the right side of the painting. The right side stands for future. And she is lifting their arms - a gesture of happiness, pleasure and red the colour of power. The deep blue in the back is the depth of thoughts and the great soul.
2017 Palm Art Award - Recognition Price