After initial skepticism towards the project, he soon owned the support of the whole town community. Strumbel approached the church with the idea of a completely modern intervention. With his transformed objects, Strumbel successfully creates an illusionary world, which reflects societies real maladies. In the German village of Goldscheuer, the artist reconstructed the interior of the built in 1962 Catholic Church Maria, help for the Christians. He exposes the mechanism of a society that in its desire for status and the pursuit of consumerism surrenders to the constant attraction of the media. Strumbel raises significant identity questions with his work: How do I define Heimat? How do I perceive myself? How do I project myself to the outside world? How and through what do I define myself? With his art, Strumbel initiates a change in social values: Traditional ideals, clichéd notions of home and the reality of the individual are dissolved and transformed into an aesthetic that becomes an allegory of social status symbols. A German word that cannot be entirely translated one on one but loosely refers to heritage or home. Another key aspect of this work refers to the concept of Heimat. Strumbel, however, creates both, a unique artificial and artistic aesthetic with his usage of extreme exaggerations in regard to form content. With their colorful and bright surface, the artworks appear as light and shiny pieces of Pop Art. At first sight, these objects don’t reveal any of the disturbing content but appear as beautifully crafted wooden sculptures. By doing so, he puts the objects into a completely new and often provocative context, always pushing boundaries. He replaces significant elements of the cuckoo’s clock, such as traditionally carved ornaments with motives that deal with the subjects of violence, pornography and death. He made a name for himself by exaggerating traditional and cult artifacts such as cuckoo clocks, anchors and crucifixes and reincorporating elements of Street Art and Pop Art. Stefan Strumbel (* 1979) lives and works in Offenburg.Stefan Strumbel is a German artist, born on in Offenburg. The New York Times recently asked the artist to do the cover for their magazine.
LED light shines on speech bubbles and comic elements, all of which contribute to decorate the Catholic Church in an innovative fashion. After initial skepticism about the project, he soon had the support of the entire municipality Pastor Thomas Braunstein even praised Strumbel’s work as “a gift from heaven.” The reopening of the newly designed church on July 1st, 2011 was covered by all media outlets: Leading print publications such as “Der Spiegel” and “FAZ” published articles about the six-metre-tall Madonna, dressed in traditional Black Forest garb and holding infant Jesus in her arms above the entrance. Strumbel approached the church with the idea of an entirely modern intervention. In the German village of Goldscheuer, the artist reconstructs the interior of the integrated Catholic Church of Mary. By means of these altered objects, Strumbel successfully creates an illusionary world that mirrors the sickness of society. He actuates the mechanism of a society which, in its desire and pursuit of consumption, surrenders to the medium’s constant appeal to status. With his art, Strumbel instigates a shift in societal values: traditional ideals, clichéd notions of home and the reality of the individual are dismantled and transformed into something aesthetical that then becomes an allegory of the societal status symbol.
How do I define “home”? How do I view myself? How can I project myself onto the outside world? Strumbel raises significant questions of identity with his work.
#STEFAN STRUMBEL KUCKUCKSUHR SHOP FULL#
Its full intrinsic meaning however, which loosely alludes to heritage, cannot be fully conveyed in English. However, Strumbel creates a uniquely artificial and artistic aesthetic, used to form extreme exaggerations of content.Īnother important aspect of his work relates to the concept of “Heimat”, the German word for “home”. With their colorful and bright surfaces, these works of art are reminiscent of light and shiny pieces of Pop Art. At first glance, these objects do not unveil their often disturbing content, but come across as beautifully shaped wooden sculptures. In doing so, he contextualises the objects in a completely new and often provocative way. He replaces important elements of the cuckoo clock, such as traditional carved decorations, with motifs dealing with themes of violence, pornography and death.
Stefan Strumbel made a name for himself in particular by reinterpreting traditional cultural artifacts such as cuckoo clocks, anchors and crucifixes, and also by exaggerating elements of Street Art and Pop Art.
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