Stefan Strumbel made a name for himself in particular through traditional cult artefacts such as cuckoo clocks, anchors and crucifixes exaggeration and elements of street art and pop art which he reinterpreted.<\/p>\n
He replaces important elements of the cuckoo clock, such as traditionally carved ornaments with motifs dealing with themes of violence, pornography and death.<\/p>\n
In this way, he places the objects within a completely new and often provocative context. At first glance, these objects are not disturbing content but appear like beautifully shaped sculptures made of wood.<\/p>\n
With their colourful and bright surface, the artworks are reminiscent as light and shiny pieces of pop art. Strumbel, however, creates a unique artificial and artistic aesthetic with its use of extreme exaggerations to form content. E<\/p>\n
ne other important aspect of this work relates to the notion of ‘Heimat’; a German word that does not quite translate in English, but loosely refers to heritage or being at home. Strumbel raises significant identity issues with his work. How do I define home? How do I see myself? How do I project myself onto the outside world? How and through what do I define myself?<\/p>\n
With his art, Strumbel initiates a change in social values: traditional ideals, clich\u00e9d notions of home and the reality of the individual are dissolved and transformed into something aesthetic that becomes an allegory of the social status symbol. He exposes the mechanism of a society that capitulates for status in the desire and pursuit of consumption on the constant appeal of the mediim. With his transformed objects, Strumbel successfully creates an illusionary world that reflects the sickness of society.
\nIn the German village of Goldscheuer, the artist reconstructs the interior of the integrated 1962 Catholic Church of Mary. Strumbel approached the church with the idea of a very modern intervention. After initial scepticism about the project, he soon owned the support of the entire municipality; parish priest Thomas Braunstein even praised Strumbel’s work as “a gift from heaven.” The reopening of the revamped church on 1 July 2011 was present in all media platforms: leading print media such as Der Spiegel and FAZ published articles about the 6 High Meter Madonna dressed in traditional Black Forest attire, with her infant enthroning Jesus above the entrance. Funky stripes embellish the choir wall, LED light shines on speech bubbles and comic elements, all innovatively adorning the Catholic church.<\/p>\n
The New York Times recently asked the artist to design the cover for their magazine.<\/p>\n
Stefan Strumbel (* 1979) lives and works in Offenburg.<\/p>\n","protected":false},"excerpt":{"rendered":"
Artist:<\/span> Stefan Strumbel<\/p>\n Title:<\/span> Love Faith Hope<\/p>\n Year:<\/span> 2013<\/p>\n Medium:<\/span> A crucifix, a sketchbook and a candle<\/p>\n Edition:<\/span> 300 copies<\/p>\n Note:<\/span> On the occasion of the 10th anniversary of Art Karlsruhe<\/p>\n","protected":false},"featured_media":20639,"template":"","meta":[],"product_cat":[119],"product_tag":[],"yoast_head":"\n