Categorization of an individual lays in the base of people's communications, and, to my opinion, substantially reduces possible useful outcomes of such communications. Whenever meeting a new person, we start from identifying whether this is man or woman, nationality, profession, possible social status, income, age, number of kids etc. By the moment we collect all those tips we rare bother to ask what this person really interested doing and thinking.

Categorization

It says:

DISPROPORTIONATELY BLUE color of high sky, DISPROPORTIONATELY BLUE color of disillusionment, DISPROPORTIONATELY BLUE color of hope, DISPROPORTIONATELY BLUE color of deep water, DISPROPORTIONATELY BLUE color of desperation, DISPROPORTIONATELY BLUE color of memory, DISPROPORTIONATELY BLUE color of dream, DISPROPORTIONATELY BLUE color of rule, DISPROPORTIONATELY BLUE color of satisfaction, DISPROPORTIONATELY BLUE color of loss, DISPROPORTIONATELY BLUE color of time remain, DISPROPORTIONATELY BLUE color of curiosity, DISPROPORTIONATELY BLUE color of rhythm, DISPROPORTIONATELY BLUE color of moment ...

in order to find a match between sound and meaning of words, memory about emotions experienced in the past and visual associations with color. 

  

Disproportionately blue

These expressive portraits create the optical illusion of various surfaces. This can be interpreted in different ways: real and fictional, random, and controlled. I was inspired by the current situation when I left quarantine, full of energy of intentions, but the present and future are unknown.

Technique: acrylic, oil, canvas.

Illusions

The ongoing "GULAG portraits" series is devoted to female lives in GULAG, forced labour camps in USSR. The embroidery itself has a special significance in female lives at GULAG and soviet prisons: on one hand, it testifies to the hard work of prisoners, from another hand it means connectivity with their relatives, especially with their left children. The series is based on research of accessible documents, each portrait has its name and story, leaving no place for anonymity and obscurity. Memory is a key point to preventing a repeat of such terror, art can provide society with a visuality of historical documents and statistics.

Litchtengauz A. Series "GULAG portraits"

Untitled

Catalyst

An imagination of physical particles and their interactions. They certainly look different though...

Mystical wind brings ashes of a remote fire. Wind comes from the East. Silent birds are gathering to watch... unable to interfere, humble about the scale. Only ancient totemic discs withstand the power of the wind, they witnessed it before.

Waiting for the Wind

Three simple stems of grass in the bottles stand for me, my husband and our daughter...

This image is a reflection of my experience of immigration and a failed attempt to keep my roots intact. For me the metaphor of cut roots preserved in a bottle rises a bunch of questions (whether it is about cultural or family traditions, connection with parents left behind or communications with compatriots in a new country). Is it possible to flourish without connection to your ground? Should the roots be planted into a new soil, and can they regenerate there? Or should they be completely cut off to give way to a totally new freedom? 

Nostalgia

This work consists of 81 individual square images having cross as the main sign. Each image was created as routine repetition of the same elements with the same sequence to apply them. The main purpose was to achieve a quality of meditation. I created the initial plates during several days and as a result some variations in plates emerged reflecting fluctuations in my concentration and subconscious mind. 

'81'

Sweet Judgements

Changing dimensions

This work is an allegory of the catastrophe of war (in particular the current war in Ukraine) which in my imagination was stamped as images of destroyed multi-store apartment buildings with torn remnants of peoples' normal everyday life, and hints that many of those tenants lost their lives while sleeping or cooking or talking, and hints that many more of them had to become war refugees, and some of them refused to leave their even destroyed houses... That is why a suggestion of wheels, very fragile and impossible, supports the crumbling structure. How miraculously that could be if all the houses were able to grow up wheels to bring all those people to safety... 

Earth Arc (triptych)

Landmarks (triptych)

Silent Birds and Wheels of Fate

Catching crumbs of Wisdom and something else

Loaf of the Universe

A mythical vessel of life is keeping its course through omens and symbols. Black stars of desires and ambitions are passing by.

Slumbers are passing by

Our life is like a large crystal, it lives and grows. Over time, more facets appear on it. Turning this crystal, we can suddenly see a fragment of what we have heard, seen or imagined on the mirrored surface. It is like fragments of our feelings and thoughts through the prism of the world around us.

In these artworks, I wanted to show such fragments as abstract parts of something whole, but very important. And each segment is like a small diamond in the treasury of our memories and feelings. When we are sad or want to distract from the present, we sink into pleasant memories, like a dream that will bring us strength and inspiration.

Yes, in fact, everyone has their own memories, but Emotion is just the basics that can unite different people. I would like to show the world around me from a different perspective so that the viewer would have emotions and associations from the depths of the soul.

Reflection 10

Reflection 6

Reflection 7

Reflection 3

Reflection 2

Reflection 1

Female portrait in a head embroidery dressing. 

Spirit Free

_An interpretation of one of the artworks by Antonio Mancini._ 

The Boy 

An interpretation of one of the artworks of William Bouguereau. 

Femme 

Female portrait with a moth on her hand. 

Moth to a Flame No.2

Moth to a Flame No.1

The Tea Party

Mr. Hockney teaching me how to paint a pool

Mark 1st

Gates of the World

Die Relation zwischen Besucher und Dargestellten konstituiert sich durch die real- physische Bewegung des Betrachters im Raum. Durch das Vorantasten erkennt der Besucher, dass sich hinter den Spiegeln Objekte befinden, die er im alltäglichen Gebrauch verwendet. Die Gestaltungselemente werden zu einer Raumsprache. Abhängig des Betrachtungswinkels sieht die Person entweder ihr Spiegelbild oder das  dahinterstehende  Objekt. Bewegt sich der Betrachter auf dem gekennzeichneten Punkt am Boden zu, sieht er nur mehr sich selbst als Reflexion in den Spiegeln. Dies soll den Betrachter zurück zu sich selbst führen. 
Ich kann mich nicht verstecken. 
Alles was ich tue, alles was ich bin, bin ich selbst. 
Ich bin ein Teil der Welt. Ich bin ein Teil der Natur. Ich bin ein Teil des Alltaeglichen. 
Die vorliegende Arbeit geht in diesem Sinne von einem phänomenologischen Raumverständnis aus. Ausgehend des „Zwischenraumes“ zwischen Betrachter und vollständiger Reflexion (Bodenmakierung) ist ein Raum des Wunderns, des Betrachtens und des Versteckten entstanden. Dieses „Zwischen“, welches von dem Subjekt als auch von den Konstellationen des Raumes gleichermaßen ausgeht, wird von diesen beiden Polen erzeugt und kontinuierlich verändert. Es ist eine Rauminszenierung, die sich durch Handlung, leibliche Wahrnehmung, Erfahrung und physische Bewegung des Besuchers konstituiert und daraus ihre Wirkkraft schöpft.



Reflection

Diese Skulptur aus Holz und Weichzellschaum soll eine kritische Auseinandersetzung mit klassischen Paradigmen sein. Die Bilderrahmen sind hohl und in sich verkeilt. Aus ihnen heraus quillt eine Masse, welchen neuen Raum zeigt und nutzt. Diese heraus treibende, neuformende Masse stellt den Raum außerhalb der Grenzen dar. Grenzen auch im Sinne von Disziplinen und deren Einschränkung in Hinsicht auf neue und interdisziplinare Methoden und neuen Möglichkeiten. Theorie, Zwang, eurozentristische Perspektiven symbolisiert als einschränkenden Rahmen für Neues. Expandierendes, spannendens, erkenntnisgewinnendes Anderes als Masse die sich außerhalb des Rahmens bildet. Verstärkt durch das monochromatische Rot und dem schwebenden Konstrukt- beides hält sich zusammen und ist mit nicht viel mehr als Seilen vor dem Absturz geschützt. 

Wandel

 The series is about a woman, that has a puppet- Emely- that looks like a real baby, called reborn puppet.
She goes out with this puppet in a buggy, also she pretends to feed the puppet whose name is Emely. It helps her, to cope her everyday problems.

Sabine besitzt eine Puppe, die aussieht wie ein echtes Baby. Eine 'reborn Puppe'. 
Sie fährt sie -Emely- im Kinderwagen spazieren. Tut so, als würde sie füttern, Ihr hilft es, mit ihren Problemen die durch ihre Krankheit Borderline entstehen, zurechtzukommen. 

*not published
Lena Kunz

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Lena Hanzel

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