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Tiltshift routes4/13/2023 ![]() The film architecture of the The Golem: How He Came into the World (1920), for which Poelzig was a scenographer, is in many ways the most visible and available residue of his use of structural space as an embodiment of emotional and psychological narrative. In combination, the somewhat abstracted drawings give a sense of the use of colour adding to the structural drama. The photographs and drawings relating to the Grosses Schauspielhaus are tantalising, even by virtue of the fact that the photographs are in black and white, and a selection of the drawings in colour. Niamh McCann: I have looked at much of the Poelzig material held in archives. The exhibition, currently on show at the Visual Centre for Contemporary Art in Carlow, will travel to other parts of Ireland next year.Profoundly concerned with space and perception, it will adapt in response to each gallery setting.ĭarran Anderson: Your latest work references Hans Poelzig, an astonishing German expressionist, whose Grosses Schauspielhaus with its artificial stalactites seems a tantalising, largely untaken, path in architecture. Her latest collection of works, Just Left of Copernicus, was inspired partly by the German architect Hans Poelzig, who died in 1936. It appears as protean as the world it is assembled from and yet it feels self-contained capturing a plurality of ideas and echoes with still, totemic clarity. ![]() ![]() ![]() Niamh McCann’s art is alive with resonances and paradoxes. Niamh McCann: ‘I consider making a form of thinking’ The internationally acclaimed Irish artist talks about her latest show, Just Left of Copernicus, how she has been influenced by the work of German architect Hans Poelzig, and whymaking is the true test of one’s ideas
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