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Clothbound 10 x 12.5 in. / 208 pgs / 150 color. PUBLISHING STATUS
Pub Date 10/1/2008
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Catalog: FALL 2008 p. 135 PRODUCT DETAILS
ISBN 9783775721646 SDNR30
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| | | Thomas Helbig: Homo Homini LupusEdited by Zdenek Felix.
Berlin-based artist Thomas Helbig's early drawings, paintings and sculptures are a bit claustrophobic--like they've emerged from a Hieronymus Bosch tableau. His sculptural works are crafted from found objects that he shatters and reconfigures to create hybridized assemblages. The violent gestural surfaces of these works extend into his two-dimensional pieces, which allude to the unwieldy forces of nature through the use of stylistic devices as diverse as the political subtexts of abstraction and the spiritual aspects of Romanticism. Helbig's paintings of the past two years--the focus of this volume--have gained a little breathing room. His brightly colored chalk drawings, for example, feature pared down and less overtly aggressive Japanese scroll-like imagery. The title Homo Homini Lupus references Thomas Hobbes' well-known--rather jaundiced--view of the horrors of which human beings are capable when left to their own devices, which seems to suggest that Helbig's vision is as dark as ever.
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FORMAT: Clothbound 10 x 12.5 in. / 208 pgs / 150 color.
LIST PRICE: U.S. $60.00
LIST PRICE: CANADA $70
ISBN: 9783775721646
PUBLISHER: Hatje Cantz
AVAILABLE: 10/1/2008
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RETAILER DISC: SDNR30
PUBLISHING STATUS: Out of print
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| Thomas Helbig: Homo Homini Lupus Published by Hatje Cantz.
Edited by Zdenek Felix. | Berlin-based artist Thomas Helbig's early drawings, paintings and sculptures are a bit claustrophobic--like they've emerged from a Hieronymus Bosch tableau. His sculptural works are crafted from found objects that he shatters and reconfigures to create hybridized assemblages. The violent gestural surfaces of these works extend into his two-dimensional pieces, which allude to the unwieldy forces of nature through the use of stylistic devices as diverse as the political subtexts of abstraction and the spiritual aspects of Romanticism. Helbig's paintings of the past two years--the focus of this volume--have gained a little breathing room. His brightly colored chalk drawings, for example, feature pared down and less overtly aggressive Japanese scroll-like imagery. The title Homo Homini Lupus references Thomas Hobbes' well-known--rather jaundiced--view of the horrors of which human beings are capable when left to their own devices, which seems to suggest that Helbig's vision is as dark as ever.
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