Atelier Jacob Merkelbach

Atelier Jacob Merkelbach
Publié par Lapetitemelancolie le 25/01/2019
encore une fois,fabuleux travail de recherche et présentation

La Petite Mélancolie

« Jacob Merkelbach was the founder of one of the most famous Amsterdam portrait photography studios of the twentieth century on the fifth floor of fashion house Hirsch at Leidseplein Studio J Merkelbach ( Atelier Merkelbach) In the luxurious studio above the fashion warehouse Hirsch on the Leidseplein, he photographed almost all famous Dutch people from the theater world, writers, artists, businessmen and the wealthy Amsterdam bourgeoisie. Taking pictures of Abel Herzberg, André Herzberger, Carel Asser Daniel comme Mata Hari , Fien de la Mar , Théo Mann-Bouwmeester , Willem Mengelberg et Abel Herzberg , se sont fait capturer sur l’album sensible.and many others. His photographs are unique and of exceptional quality. You can see here the galery of protraits  .The personal signature in the design and execution of each portrait, the technical knowledge of the staff and the professional cooperation of the daughter and son-in-law made this…

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Sent M’ahesa (Else von Carlberg)

Le superbe travail de recherche de cette blogueuse.
Sent M’ahesa (Else von Carlberg)
Publié par Lapetitemelancolie le 22/01/2019

La Petite Mélancolie

Sent M’Ahesa

“Such confusion of identity did not apply in the case of Sent M’Ahesa (Elsa von Carlberg 1893-1970), whom audiences persisted in identifying with Egyptian dances (though her dance aesthetic  included images from other ancient o exotic cultures). She performed all her dances solo. Born in Latvia, she went to Berlin in 1907 with her sister to study Egyptology but became so enchanted with ancient Egyptian art and artifacts that she decided to pursue her interest through dance rather than scholarship… Under he name of Sent M’Ahesa, she presented a program of Egyptian dances in Munich in December 1909 (Ettlinger). From then until the mid-1920s, she achieved fame for her exceptionally dramatic dances dominated by motifs from ancient Egyptian iconography. …

Her dances always functioned in relation to intricate, highly decorative costumes of her own design, so that it appeared as if she chose movements for their effect upon her costume.  In…

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Carabin François Rupert

La Petite Mélancolie
killing time with beauty
Carabin François Rupert
Publié par Lapetitemelancolie le 07/01/2019

La Petite Mélancolie

Carabin François-RupertFemme nue couchée de dos, les pieds en l’air 1895-1910

Carabin François Rupert Femme nue debout de dos jambe levée

Carabin François-Rupert Femme nue couchée de dos, visage vers objectif

Carabin François-Rupert

Carabin François-Rupert

Carabin François-Rupert

Carabin François-Rupert Femme nue accroupie de dos, 1895-1910

Carabin François-Rupert FFemme nue assise de dos 1895-1910

Carabin François-Rupert Femme nue debout de profil droit1895-1910

Carabin François-Rupert Femme nue debout de face, main droite derrière la tête

Carabin François-Rupert Femme nue debout de face, bras gauche plié, couvrant le visage 1895-1910

Carabin François-Rupert Femme nue accroupie de dos, 1895-1910

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1953 geboren in Leningrad
1960-1970 Zehnklassige Allgemeinbildende Polytechnische Oberschule
1971-1978 Architekturstudium an der Akademie der Künste in Leningrad
1978-1984 Architektin in „LENPROEKT“
1984-1994 Architektin an der Kunstfond des Künstlerverbandes UdSSR
seit 1994 Wohnsitz in Sachsen

1953 Naissance à Leningrad
1960-1970 Études générales et secondaires – Polytechnique
1971-1978 Études d’architecture à l’Académie des Arts de Leningrad
1978-1984 Architecte « LENPROEKT »
1984-1994 Architecte à la fondation des Arts de l’union des artistes Russes
seit 1994 Réside en Saxe



Teilnahme an Kunstprojekten und Ausstellungen

Participation à des projets d’Art et expositions

1995 Ausstellung in Klub BBZ Chemnitz
1996 Ausstellung in „VILLA LILA“, Chemnitz
1997 Ausstellung „PETERSBURGER HÄNGUNGEN“ in der Staatlichen Galerie
Karmeliterkloster, Frankfurt am Main
1997 „Atelier als offene Werkstatt“ zusammen mit Valeri Generosow, Chemnitz
1999 Internationale Keramiksymposium „DIALOG I“, Chemnitz, Kuratorin
1999 Ausstellung „Architekturbezogene Kunstobjekte“ im Haus de Architekten, Dresden
2001 Projekt „IN SICHT“ in Chemnitz. Aufstellung der Skulptur „Musiker“ am Brühl
2001-2010 Ständige Teilname an „Offene Ateliers“ in Dresden

2002-2005 Mitglied des Deutschen Künstlerverbandes BBK, Künstlergruppe ZMO

2002 Omsewitzer Adventskalender/Fenstergestaltung (Projektbeteiligung)
2003 Ausstellung in Sächsischen Landtag in den Räumen PDS-Fraktion
2003 Ausstellung „Prolog“ in den Räumen des Hauses der Architekten in Dresden
2003 Internationale Ausstellungsprojekt „DIALOG II“ in St. Petersburg
2004 Internationale Ausstellungsprojekt „DIALOG III“ in Dresden
2008 Ausstellung „Jahreszeiten“ in DREWAG- Kundenzentrum, Dresden

seit 2009 Mitglied des Neuer Sächsischer Kunstvereins e. V.

2010 „Wittenberger Kunstwege“ Ausstellungsprojekt in Lutherstadt Wittenberg
2010 „6. KUNST: offen in Sachsen“ Dresden
2010 Teilnahme am Künstlerwettbewerb Springbrunnen / Kurländer Palais in Dresden
2010 „Unterwegs nach Dresden“ Ausstellung in den Räumen IBZ, Dresden
2011 „Landschaften und Stillleben“ in Begegnungszentrum „JOHAN“, Dresden
2011 „Wir aus Leningrad“ in Deutsch-Russischen Kulturinstitut e.V. in Dresden
2011 Einzelausstellung in den Räumen ADZ NAGANO GmbH
seit 2012 Wohnsitz in Leipzig
2013 Ausstellungsteilnahme „Atelier MEGA“ im Tapetenwerk, Leipzig
2013 „Halle C01 – onLINE“, Ausstellung des Bundes Bildender Künstler Leipzig e.V.
2014 „zeitgleich 2014 / zeitzeichen BBK“, Ausstellung BBK Leipzig e.V.

Kunstwerke wurden von Sammlern aus USA, Deutschland, Schweden, Ecuador und Dänemark erworben

Des oeuvres ont été achetées par des collectionneurs des Etats-Unis, de l’Allemagne, de la Suède, du Danemark et de l’Equateur



Artist authorship + no commercial use + no modification


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Artist authorship + no commercial use + no modification


Vitrinart © Copyright 2012-2017 All right reserved

Michel NASLOT, un des administrateurs du site.


Maher Naji a Palestinian artist




After his family fled from Northern Sawafer Village, Maher Naji was born in 1963 in Jabalya refugee camp, where he finished his primary and secondary education. He left for Russia in 1983 and joint the Baron Stieglitz Art Academy in St-Petersburg and returned to Gaza in 1994 after receiving a PHD in Arabian architecture.He participated t many events and exhibitions n the ground.










2014: Festival of contemporary art -Palestine (fragrance of the sand)/exhibition traces in Ramallah

2012: Festival of contemporary art (Tawasol)/ Group exhibition « challenge features » in Gaza/Ismail Shamout competition for arts/exhibition « winter’s warmth »

2011: First Festival for arts at Said Al Meshal Gaza…


For any contact


Artist authorship + no commercial use + no modification           Copyright ©Maher Naji

                              Vitrinart      © Copyright 2012-2014   All right reserved 



Carole Sahebzadah

Co-admin du site



Laila Sahrai fine arts afghani artist


Laila Sahrai is a Fine Arts artist born in Kabul/Afghanistan in 1975. She is living in Germany.

2002 – 2007 Study of Fine Arts (Painting, drawing, Graphic) on the “Academy of Visual arts” in Enschede/NL

Since 2007 Free Artist


Since 1999 continuous exhibitions on National level Publications (extract) –
Aki Eindexamenkatalogus 2007 (NL 2007) -Sahrai Malereien & Zeichnungen (Leipzig/Köln 2010) –
Künstlerische Vielfalt in Leipzig, eine Dokumentation (Leipzig 2013) –
International Contemporary Artists Vol. VIII ( New York, USA 2014)


Websites with her works:




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Artist authorship + no commercial use + no modification


Vitrinart © Copyright 2012-2016 All right reserved

Carole Sahebzadah  – une des administratrices du site


Guldusi embroideries from Afghanistan

Guldusi embroideries from Afghanistan



We have the great pleasure to present an interesting cultural hand embroideries project from the German-Afghan initiative (DAI) in V.Freiburg under the administration of a wonderful French woman Pascale Goldenberg born in Paris and living in Freiburg Brisgau with her family.

She is an artist, writer, geologist, humanitarian, professional in the textile field, managing and attending textile and hand made embroideries exhibitions in Europe and on another side traveling to villages in Afghanistan despite numerous security matters in order to deal herself with the local women embroiderers …

This project has born 10 years ago it is named GULDUSI

In Farsi and in Paschto as well – the two official languages in Afghanistan – ‘gul’ means flower, and in Farsi ‘dusi’ means embroidery.

The term ‘guldusi’ is used by the women for all kinds of hand made embroideries or types of embroideries, thus for embroidery in general. Therefore they chose the name GULDUSI for their website. The idea of the project is

Linking Afghan culture with the rest of the world

Their website presents two embroidery projects in Afghanistan.

Many of the women living in rural areas of Afghanistan are highly skilled hand made embroiderers. The aim is to provide opportunities for them to generate an income using their embroidery skills and at the same time hope these projects will help to safeguard traditional hand embroidery skills from disappearing.

The concept is to help these small works of art to become known beyond Afghanistan, to be liked, get inspired by and purchased. When people in other parts of the world incorporate these hand embroideries into their own textile work, two cultures become connected.

While many of the hand made embroiderers in the villages are aware that they are part of a larger world, they have a strong sense of their own national identity reflected in the appearance of maps and flags among the images. Looking at the work the visitor learns about the colors of the Afghan flag and how the name of the country is spelled in Farsi.

The villages in Laghmani:


Laghmani consists of a group of several villages and is located approximately 60 km north of Kabul in the Shomali plains in Parwan province. The DAI has been supporting projects in the Shomali plains since 2002, including a women’s center in Laghmani hat offers widows six months courses in dressmaking and sewing. The hand embroidery project was developed within this project.



In 2003, two women who still practiced hand embroidery were employed as teachers for six months offering other interested women the opportunity to learn or refresh the skills. Since then, the women have been embroidering at home in their yards. Their brief was to embroider small squares (8cm x 8cm) with motifs and colours of their choice. Materials (fabrics and embroidery threads) were provided.

In 2004 the first cloth filled with embroidered squares arrived in Freiburg.

In 2005, Pascale G. undertook her first journey to Afghanistan to meet the women.

Find out more about the development of the project in recent years in the travel reports.

All the info on the website
get in touch

(click on any embroidery)


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Artist authorship + no commercial use + no modification


Vitrinart © Copyright 2012-2016 All right reserved

Carole Sahebzadah une des administratrices du site

Shadow sculpture artists from Jordan

Maysoon Masalha And Bassam Al selawi        Shadow sculpture artists       Jordan








Maysoon Masalha
Bassam Al selawi

Bassam and his wife Maysoon Masalha we both studied Fine Art in there native Hashemite Kingdom of Jordan, and spent many years teaching art while also undertaking custom art projects and experimenting with different mediums, materials and techniques. Years spent instructing Palestinian refugee children was an important educational experience for Masalha and Al Selawi as there were terribly few material resources for creating art projects; innovation and creativity Were vital and through this experience he Sharpened their skills further.
Mashalha began to teach art at United Nations Schools for Palestinian Refugees. She considers this experience as being one of the most rewarding of her career in education as she was able to realize in a profound manner how art can have a positive influence on both her students and the community. Masalha then became an art supervisor in the UN Education Development Center where she managed a team of art teachers, staged workshops and organized public arts projects that included music as well as visual art. Joining Art Hub as Manager of Art Craft provides Masalha with the opportunity to expand her perpetual interest in encouraging others to discover the artist within while she continues to create her own artwork.


Al Selawi strongly believes that visual art is a way in which each person is able to express himself/herself in a particularly beautiful Way and that each human being has the right to practice art in spite Of the level Of talent. At Art Hub Al Selawi is able to share his experiences and understanding of art in various capacities and how working together our world can be a better place. As Manager of Applied Art, Al Selawi is responsible for the design and installations Of art commissions from decorative to practical such as furnishings.
Together with the Manager Of Art Craft, Maysoon Masalha also developed a distinctive technique for shadow sculpture and their work is On display in a dedicated gallery at Art Hub.
Both artists Bassam Al Selawi and Maysoon Masalha Distinguish themselves on the art scene by creating a new and distinct technique, merging between painting, sculpture and between shadow and light, and between reality and fantasy by creating a fourth dimension to the three-dimensional sculptures.

By using Arabic calligraphy in most of the sculptures, to reflect the shadow that paints an image on the wall. Same image which consists in the mind of the recipient when reading these phrases. They used different materials and new techniques for playing in the light and the shadow.
If you take a look at one of the shadow sculptures you can be forgiven for thinking they’re some kind of installation; a beautiful carving of Arabic calligraphy mounted on the wall, a silhouette painted behind it and some drama added through the use of a spotlight.


When you realize that the spotlight is in fact casting a shadow, a shadow you may have wrongly presumed was a painted silhouette, the true ingenuity shines through. Or perhaps it doesn’t, literally speaking. ‘There are shadow artists around the world who do installations to create shadow images, but not as a wall sculpture, this concept is new… it’s their own creation.

‘We can say that our sculptures are 4D sculptures; the fourth dimension being the shadow of the words. It does reflect the same image that is printed in our mind when we read the words. Those images range from Muslim worshippers to men riding horses or camels.
The other image perhaps printed in viewers’ minds is what the price tag looks like. Each of their sculptures sells for between Dhs 500 and Dhs 1700 if it’s one of their unlimited runs of moulds. However, they also produce customized unique pieces and limited edition runs in bronze or silver and gold plating.


Exhibitions and projects :

Solo Exhibitions

July 2013 Rosewood Abu Dhabi

February 2014 Al-Serkal Cultural Foundation

April 2014 Sofitel Abu Dhabi

June 2014 Baginiskaya Gallery, Dubai Solo Exhibition

July 2014 Rosewood Abu Dhabi, Solo Exhibition

August 2014 Pullman Dubai, Solo Exhibition

Art Fair

September 2013 Beirut Art Fair
November 2013 Abu Dhabi Art Fair
May 2014 Sikka 2014
November 2014 Abu Dhabi Art Fair


December 2013 International Art Liwa Art Hub
April 2014 Up Cycle festival Liwa Art Hub
October 2014 Memory festival Liwa Art Hub

Group exhibitions:

September 2012 Dalma Mall Abu Dhabi
August 2013 Hyatt Capital Gate.
November 2013 Bawabat Al Sharq Mall / Abu Dhabi
December 2013 Marina Mall Abu Dhabi
September 2013 Arab Art month Art Hub
October 2013 Mexican Art month Art Hub
November 2013 Korean art month Art Hub
January 2014 France Art Month Art Hub
February 2014 Canadian Art Month Art Hub
May 2014 German Art Month Art Hub
April 2014 Scandinavian Art Month Art Hub
April 2014 Dubai Culture Authority Bay Avenue


Maysoon Masalha
Art Craft Manager
Art Hub



Artist authorship + no commercial use + no modification


Vitrinart © Copyright 2012-2016 All right reserved





Artist authorship + no commercial use + no modification


Vitrinart © Copyright 2012-2016 All right reserved


Carole Sahebzadah, une des administratrices du site.

VALERI GENEROSOW Peintre/Sculpteur


1946 geboren in Baku

1968-70 Berufsschule für Formgestaltung in Baku

1970-74 Studium an der Kunstfachhochschule in Baku (Fachrichtung Malerei/Grafik/Pädagogik)

1974-76 Lehrer für Malerei und Zeichnung in Leningrader Schulen

1976-81 Studium an der Akademie für Kunst und Design in St. Petersburg (Fachrichtung künstlerische Keramik/Glas bei Prof. Wassilkowski; Plastik/Figur bei Professor Bogomolov)

1981-91 freischaffend tätig auf den Gebieten der Experimentalkeramik, architekturbezogener Kunst, Landschafts- und Platzgestaltung, Brunnen und Reliefs seit

1991 Mitglied des Künstlerverbandes von St. Petersburg und Russland, freischaffend tätig, Gründung des Ateliers mit einer Meisterklasse für künstlerische Keramik

1993-94 Dozent für künstlerische Keramik an der Kunsthandwerkschule in St. Petersburg

1994 Umzug nach Deutschland seit

1996 Mitgliedschaft im Chemnitzer Künstlerbund und im Bundesverband Bildender Künstlerinnen und Künstler Deutschland

1996 Teilnahme am Keramiksymposium « Raku » in Chemnitz

1999 Ruth Leibnitz -Preis 2000 « Die keramische Großplastik im Freien » – Förderpreis Keramik der Nassauischen Sparkasse

2001-02 Teilnahme am Projekt « in SICHT – Kunst im öffentlichen Raum » in Chemnitz seit

2002 Mitglied des Künstlerbundes Dresden

2004 Teilnahme am Symposium « PINSEDAGE » in Dänemark seit

2009 Mitglied im Neunen Sächsischen Kunstverein

2010 Teilnahme Bildhauer-Wettbewerb « Kurländer-Brunnen » in Dresden

2014 verstorben in Leipzig


Auzüge der Rezension aus der « Sächsische Zeitung » (Autorin: Gundula Sell) vom 26.04.2007 zur Ausstellung von Valeri Generosow in der Barbara-Kapelle Meißen: … « Die stark abstrahierten Figuren und Gruppen aus schamottiertem Ton, glasiert in unbunten Farben, können geradezu aus dem alten Gemäuer herausgewachsen sein. Sie geben archaische Situationen und Beziehungen von Menschen wieder, wie Familie, Barmherzigkeit, Heiligtum. Viele der Arbeiten … interpretieren christliche Themen. Die Personen sind fast immer reduziert auf Typen, geradezu Ideen. Dynamik und Emotion entstehen aus Generosows energischem Umgang mit den Formen, der nicht nur spirituell, sondern auch ästhetisch anregende Gebilde hervorbringt. Selbst eine « Pièta », Beweinung des toten Christus durch seine Mutter, vermittelt die Empfindung von Lebensbejahung. » … « Öl- und Acrylfarben zeigen ihre ganze Leuchtkraft. Auch auf der Leinwand gestaltet Generosow mit großen Formen. Kreise und Streifen ordnen sich abstrakt zum verlorenen Paradies oder zur Apokalypse. Oft erscheinen inmitten der kräftigen Flächen – orange und türkis, bei neueren Arbeiten leuchtrot und tiefblau – Stadtlandschaften, Musiker, Porträts. Generosow knüpft an die Tradition der klassischen Moderne an, Kubismus, Konstruktivismus, baut sich aber seine eigenen Bilderwelten, in der ikonenhafte Madonnen oder erkennbare Dresdner Landschaften eingeschlossen sind. Die Arbeiten von Generosows sprechen von Intensität und Lebensfreude, von Kraft und Formbewusstsein. Ihm geht es nicht um Dekoration, sondern immer auch um ästhetische Erziehung, von der er sagt, sie sei « das Fundament, auf dem solche Begriffe wie Schönheit, Liebe, Ehre, menschliche Würde, Edelmut aufgebaut werden ».


Seit 1980 zahlreiche Ausstellungen und Ausstellungsbeteiligungen im In- und Ausland.

1992 St. Petersburg, Galerie « Villa Bosse »
1995 Chemnitz, Kulturklub « Pablo Neruda »
1998 Chemnitz, Evangelisches Forum
1998 Chemnitz, « Lese Cafe »
1998/99 Chemnitz, Architektenkammer Sachsen und Kammerbüro
2000 Chemnitz, Schauspielhaus
2000 Chemnitz, Galerie LICON
2002 Dresden, Dresdener Factoring AG
2003 Dresden, Galerie « Kunstausstellung Kühl »
2004 Dresden, Dreikönigskirche
2005 Markneukirchen, Nikolaikirche
2007 Meißen, Evangelischen Akademie
2010 Dresden, Galerie Rainar Götz
2010 Dresden, Kurländer Palais
2014 Leipzig, Neues Rathaus (in memoriam)
1997 Projekt « Das Atelier als offene Werkstatt » in Chemnitz
1999 Projekt « DIALOG I », I. Internationales Keramiksymposium
2003 Ausstellungsprojekt « DIALOG II » – 12 Dresdner und 12 St. Petersburger Künstler in St. Petersburg
2004 Ausstellungsprojekt « DIALOG III » – 12 St. Petersburger und 12 Dresdner Künstler in Dresden



Artist authorship + no commercial use + no modification


Vitrinart © Copyright 2012-2016 All right reserved







Artist authorship + no commercial use + no modification


Vitrinart © Copyright 2012-2016 All right reserved


Michel NASLOT, un des administrateurs du site.

CARL ROBERTS Sculpteur South Africa

CARL ROBERTS       Sculpteur        South Africa


Carl Roberts
Trial and Error
There is a line from E.M. Foster’s “Passage to India” that inspires me. The character Mrs. Moore says; “I think that everyone fails but there are many kinds of failure”
By the age of five I had already experienced a few of catastrophes and was on to my third father. The first crashed his RAF jet and the second died of lung cancer. We lived in many places; my elder sister has been in more schools than years in school. Perhaps it is surprising I even got to my final year in school as I was emotionally unstable and intellectually disinterested. Add to that I am ADD (attention deficit disorder), a little dyslexic and did not have art as a subject at school. Needless to say, I failed my finals.
I worked for five years before deciding to go to University to “fail”. I hoped for an exciting social life and the credibility of being a university drop out. The day before I left Durban for Rhodes University I got a rejection note. With little to lose and my friends waiting to take me on a meandering trip down the Wild coast, I persisted. To this day I am not certain if the university made a mistake with the admission criteria or if it was that I bullied my way into the university. The admission officer, flustered by my attack, allowed me to register for a Journalism degree with art as an extra credit. That extra credit changed my life!
I switched to a degree in Fine Art and failed to fail as I had imagined I would. Much to my surprise I was awarded the prize for the best all round art student, received academic half colours and a Rhodes University bursary to further my studies. I went on to complete a Master’s degree and became a Fine Art lecturer. In 1995 I was pushed from my position as a lecturer at the University of Durban-Westville by a disgruntled and threatening student and inept management to become a full time artist. Now, I am grateful for that unfair and upsetting calamity.
My artist statement reads:
I work like the automatic artist of the Surrealist movement in that I trust my subconscious to generate ideas. The emphasis is on “magic, accident, irrational, symbols and dreams”. Like the Rorschach (ink blot) test, the material often suggests images and sometimes presents them in an unusual way. The image made depends ultimately upon what lies in the subconscious, elements of chance and the spirit of the times.

I distrust artist statements! I suspect that they may be limiting and misleading because they rationalize what has been or is being done. They mislead the artist as much as the viewers. I believe that artists should not know what they are doing and feel their way towards something that works. Clear cut, unconfused artists’ statements are good for marketing as they put the buyer at ease. However there is impossibility about art as innovation comes through disappointment and exploration is about the unknowable. There is some certainty of failure. It may be true that you can never make a perfect work. Art is difficult and that leads us into temptation, to justifications and words.

It turns out that like most artists my work is, unintentionally and unknowingly, autobiographical. With hindsight I can see the works reflect my life in symbols and images. Icarus and flying figures relate to my flying, crash and burn father. Boats and whale hunts are images of the many sea journeys made to flee disaster and or in pursuit of better days and my love of the sea. Most of the sculptures I have made can be shown to have a connection to my life, but I think it is also important to have some that are incomprehensible.

I like to discover. I try different mediums, different subjects, textures, forms, whatever takes my fancy. Perfection is as limiting as chaos so I go about trying to order chaos. It is a challenge and is entertaining. Perhaps my artist statement should read like the mission statement of the Starship, Enterprise, from the Star Trek series: “To go where no man has gone before”. Except that I am not outlandish, in fact, I think I am conservative. Despite art being a public business that requires showmanship in order to sell it, it is, in its making, a private journey.

I prefer natural mediums like wood, stone and bone that I find in places I know but it is not a rule and there have been lots of other mediums from nylon strap to bark. I prefer something that is organic and “messed up” a little as “Perfect order is as hostile to innovation as total disorder” (“Arrival of the fittest” Andreas Wagner) My first efforts at a new medium are often flawed but I learn and adapt. If I ever solve all the problems I will need a new challenge.

When I start to lose interest is usually when galleries and clients start to take notice. It has not been a recipe to make a fortune! I believe in hard work, perseverance and craftsmanship all of which sometimes seems to be outdated and a failure of some sort. I would like my works to last for a long time and make them to last but I am not hopeful in that respect. We live in a consumer society and like everything else I expect some work to end up in the dustbin. However being an artist has been, for me, a privilege; a wonderful, entertaining, exciting and meaningful journey of exploration.

E.M Foster’s words “I think that everyone fails but there are many kinds of failure” means, to me, that by trial and error I must endeavor. Fail a little less! It is about engaging in a struggle in spite of inevitable disappointment. I also think of Dylan Thomas poem, Do not Go Gentle into that Good Night, and his words “Rage, rage against the dying of the light”.




Carl Roberts

Epreuve et erreur

Il y a une phrase dans  «La route des Indes» de E.M. Foster qui m’ inspire. Le personnage Mme Moore précise: « Je pense que tout le monde échoue mais il y a de nombreux types d’échec »
À l’âge de cinq ans, j’avais déjà vécu un certain nombre de tragédies et en était à mon troisième père. Le premier s’ est écrasé avec son jet RAF et le second est mort d’un cancer du poumon. Nous avons vécu dans de nombreux endroits; ma sœur aînée a étudié en un plus grand nombre  d’écoles que d’années passées à l’école. Etonnamment j’ai réussi à terminer ma dernière année à l’école malgré le fait que j’étais émotionellement instable et intellectuellement désintéressé. En plus  je suis ADD (trouble déficitaire de l’attention), un peu dyslexique et n’ai pas étudié l’art en tant que sujet à l’école. Inutile de dire que je ne ai pas réussi mes examens finaux .

J’ai travaillé pendant cinq ans avant de décider d’aller à l’université pour «échouer». J’espérais une vie sociale passionnante et la crédibilité d’être éjecté de l’université. La veille de mon départ de Durban pour l’Université de Rhodes, j’ai reçu une note de rejet. N’ayant rien à perdre et mes amis m’attendant  pour un voyage sinueux le long de la côte sauvage, j’ai persisté. A ce jour, je ne suis pas certain si l’université a fait une erreur avec les critères d’admission ou j’ai été victime d’intinidation à l’université. L’agent d’admission m’a permis de m’inscrire à une licence de journalisme avec l’art comme un sujet supplémentaire. Ce sujet supplémentaire a changé ma vie!

Je me suis orienté vers un diplôme en Beaux-Arts et ai échoué comme je l’avais imaginé. À ma grande surprise on m’a décerné le prix pour le meilleur  étudiant en art , j’ ai reçu les couleurs universitaires et une bourse de l’Université de Rhodes pour poursuivre mes études. J’y suis allé  pour terminer un diplôme de maîtrise et suis devenu un professeur des Beau-Arts. En 1995, je fus renvoyé de mon poste de professeur à l’Université de Durban-Westville par un étudiant mécontent et menaçant incapable de pouvoir devenir un artiste à temps plein. Maintenant, je suis reconnaissant de ce fait injuste et bouleversant.

Ma déclaration de l’artiste consiste:

Je travaille comme l’artiste automatique du mouvement surréaliste et je fais confiance à mon subconscient pour générer des idées. L’accent est mis sur « la magie, accident, irrationnel, les symboles et les rêves ». Comme le test de Rorschach (tache d’encre), les matériaux suggèrent souvent des images et les présentent parfois d’une manière inhabituelle. L’image  dépend finalement de ce qui se trouve dans le subconscient, les éléments de hasard et de l’esprit du temps.

Je me méfie des déclarations d’artiste! Je soupçonne qu’elles peuvent être limitatives et trompeuses parce qu’elles rationalisent ce qui a été ou qui est fait. Elles induisent en erreur l’artiste ainsi que les téléspectateurs. Je crois que les artistes ne devraient pas savoir ce qu’ils font et ressentir leur chemin vers quelque chose qui fonctionne. En résumé, les déclarations d’artistes sont bonnes pour le marketing et mettent l’acheteur à l’aise. Cependant, il est impossible que l’art en tant qu’ ‘innovation passe par la déception et l’exploration de l’inconnaissable. Il y a une certaine certitude de l’échec. Il est vrai que vous ne pouvez jamais faire un travail parfait. L’art est difficile et nous conduit à la tentation, aux justifications et aux mots.

Il se trouve que comme la plupart des artistes de mon travail est, sans le vouloir et sans le savoir, autobiographique. Avec le recul, je peux voir les œuvres réfléter ma vie dans des symboles et des images. Icares et figures de vol se rapportent à mon vol, à l’accident et mon père brûlé.. Bateaux et chasses à la baleine sont des images des nombreux voyages en mer effectués afin de fuir les catastrophes et à la poursuite de jours meilleurs ainsi que mon amour pour la mer. La plupart des sculptures que j’ai faites peuvent être montrées pour comprendre la connexion à ma propre vie, mais je pense qu’il est également important de conserver certaines sculptures hors de la compréhension.

J’aime découvrir. J’essaie différents milieux, différents sujets, textures,  formes selon la direction de ma fantaisie. La perfection est comme un chaos limitant   je vais de ce fait essayer d’ordonner le chaos. Il s’agit d’ un défi  divertissant. Peut-être ma déclaration de l’artiste doit se lire comme l’énoncé de mission du vaisseau, l’entreprise, de la série Star Trek: « Pour aller là où aucun homme est allé avant ». Non je ne suis pas bizarre, en fait, je pense que je suis conservateur. Malgré l’art d’être une entreprise publique qui nécessite la mise en scène afin de se vendre, il s’agit dans la pratique d’un voyage privé.

Je préfère des milieux naturels comme le bois, la pierre et l’os que je trouve dans des endroits que je connais, mais il est pas une règle et il y a eu beaucoup d’autres supports des sangles en nylon aux écorces. Je préfère quelque chose qui soit organique et « en désordre » car l’ «ordre parfait est aussi hostile à l’innovation que le désordre total» ( «Arrival of the fittest» Andreas Wagner) Mes premiers efforts sur une nouvelle texture sont souvent imparfaits, mais j’apprends et m’ adapte. Si j’arrivais à résoudre tous les problèmes  j’aurais besoin d’un nouveau défi.

Quand je commence à perdre de l’intérêt c’est généralement lorsque les galeries et les clients commencent à me remarquer. Il n’y a pas de recette pour faire fortune! Je crois au travail acharné, de persévérance et de l’artisanat ces points semblent parfois être dépassé et représentent un échec d’une certaine sorte. Je voudrais que mes œuvres puissent durer  une longue période et de les prolonger, mais je n’ai pas beaucoup d’espoir à cet égard. Nous vivons dans une société de consommation et comme tout le reste, il faut s’attendre à ce que des oeuvres finissent à la poubelle.  Cependant être un artiste a été, pour moi, un privilège; un voyage de l’exploration merveilleux, amusant et excitant.
Carole Sahebzadah        Freelance marketing






Artist authorship + no commercial use + no modification

Copyright © CARL ROBERTS

Vitrinart © Copyright 2012-2016 All right reserved







1984     A national exhibition of Universities and Technikons

1985     G.A.P. Exhibition

1985     Corobrick regional and national exhibition

1985     Eastern Province Fine Art Society, St Georges Park, Port Elizabeth.

1985     Triennial

1986     Rhodes Art School

1987     EPFSA

1988     G.A.P. Exhibition

1988     Two person exhibition at Rhodes University

1990     Three Institutions Exhibition, Durban

1990     4 person Exhibition at the N.S.A. gallery, Durban

1991     Tatham Art Gallery, Pietermaritzburg

1991     Selected for the Cape Town Triennial Exhibition

1991     The first National Sculpture Symposium Exhibition

1991     Three Institutions Exhibition, Durban

1992     Volkas Regional exhibition, Durban

1992     University of Durban-Westville, Fine Art Department, Staff Exhibition

1992     Sculpture Symposium Exhibition, Natal Technikon

1992     Three Institutions Exhibition, Pietermaritzburg

1992     Invited Artists at the Grass Roots Gallery, Durban

1993     Invited guest of the African Art Centre Exhibition, Durban

1993     G.A.P. Exhibition, Grahamstown

1993     Selected for the Natal Arts Trust Biennale 5

1993     Vita Art Now Exhibition at the Grass Roots Gallery, Durban

1994     Jack Heath Gallery Pietermaritzburg

1994     Two persons Exhibition at the National art festival, Grahamstown

1994     Three person exhibition at Anthea Martin’s Gallery, Durban

1995     Artists invite Artists at the Durban Art Museum

1995     Everard Read

1995     Global d’ Co, Belguim

1995     Anthea Martin gallery, Durban

1996     2 person show at Guild gallery Pretoria

1996     National festival of the Arts, Grahamstown

1996     Jabulisa, Durban Art Gallery

1996     NSA Gala exhibition, Durban

1996     Groundswell, Blackfriars, London

1996     BMW Customer Centre, Pretoria

1997     Brandwacht Estate, Cape Town

1998     SA sculpture today, Oudtshoorrn Arts Festival, Klien Karoo Kunsfees

1999     Postcards from South Africa, Axis Gallery, New York, USA

1999     Christies, London UK

2000     Christies, London, UK

2002     Jesterburg, Germany

2003     Sculptors at the Van Vouw Museum, Pretoria

2003     Landscape, Pretoria

2003     Art for Conservation, ICC. Durban

2004     The Art Room, Durban

2004     Solo Exhibition at the Bonisa Gallery, Kloof, Durban

2006     Seattle, USA

2006     Solo Exhibition at the Bonisa Gallery, Kloof, Durban

2007     Winchester Fine Art, Hillcrest

2007   The Heritage Arts Festival at Kizo Gallery, Durban

2007   Strydom Gallery, George

2007   Solo Exhibition at the Gallery on the Square, Sandton

2008   Winchester Fine Art, Hillcrest

2009   Strydom Gallery, George

2010   Selected for the Natal ARTs Trusts’ Jabulisa.

2010 Strydom Gallery, George

2011 Artisan Gallery Durban

2011 Strydom Gallery, George

2011 Trent Gallery, Pretoria

2013 Solo Exhibition at Art Eye Gallery, Fourways, Gauteng.





Artist authorship + no commercial use + no modification

Copyright © CARL ROBERTS

Vitrinart © Copyright 2012-2016 All right reserved


Michel NASLOT, un des administrateurs du site.

Carole Sahebzadah , traduction / translation,un des administrateurs du site.