Marble Sculptures 2002 to 2016

The boundaries of the material

Georg Scheele is a trained stonemason and this professional experience continues to shape his work as a sculptor. Because just like his sculptor colleague Ulrich Rückriem, who also completed a stonemason apprenticeship, and whose material experience with breaking and splitting a stone substantially determines the artistic expression, Georg Scheele too is constantly pushing the “limits of the possible”:
Sculpting (the German term is: “Bildhauerei” = “image chopping/beating”) in the exact sense of the word means, as is generally known, a removal of material. During the work process the basic structure of the stone, i.e. the inherent power, the hardness or the resistance of the material and the artists previously outlined idea of form meet each other.

Text by art historian Jürgen Raap

Elevador da Alma
Elevador da Alma

But for the work to „succeed”,

as well in the aesthetic as in the practical sense, the artistic will to form and the material properties must be compatible with one another. The sculptor lives through a permanent conflict between his ideas of form and his mental state on one side, and the physical properties of the material on the other side. Georg Scheele: “Following my mental images, my forms stand for treading the transitional boundary between inside and outside, body and soul and show intuitively shaped atomic structures, for which I had not even sought”.

Thus, the process of making is consequently described as a “dialogue” between artist and rock mass. Each artist, painting a picture with an emotional intensity increased almost into the ecstatic, or working on the stone plastic with the highest degree of concentration and seriousness, always does this with the absolute will to transcend his previous achievements and the art-historically known in an innovative way. An artist must therefore also have a profound knowledge of art history, as only through that he can ultimately understand his own time slot and may conduct his own stylistic and conceptual demarcations for his work.

Text by art historian Jürgen Raap

With this sculptor theory Auguste Rodin's

….. is deemed to be one of the founders of modernism. His main stylistic device consists in the characteristic to occasionally leave a shape in fragmentary form.
Although Georg Scheele’s younger abstract works in bronze and stone now, in comparison to his early figurative sculptures, follow a very different
commitment to pursuing an artistic approach in consideration of selected principles of design, an echo of his time dealing with Rodin is nonetheless still identifiable, for example, when he talks about wanting to freeze an “inner condition” in the depiction of motion.

The inner emotional dynamic of the current artistic mood finds its outward expression in a sculptural dramatic art. In this implementation process of vision or sensation into sculptural form, characters of feeling transform into characters of form in Scheele’s works. 1889 Auguste Rodin created his monumental sculpture “The Burghers of Calais”, that did not – as was customary until then in monument plastics sculpting – communicate an inflated heroic pathos, but conveyed an inner emotional movement and mood of despair in each figure. The figure shaping reflects an inner tension. The materialization of Scheele’s abstract sculptures can be described similarly.

As other key figures who have influenced his artistic self-understanding, Georg Scheele names the Russian Constructivist Naum Gabo (1890-1977) and his brother Antoine Pevsner (1884-1962). Both were founding members of the artistic movement “Abstraction-Creation” in Paris in 1931. In Naum Gabo’s early constructions the volume of a sculpture results from joined slabs.

Text by art historian Jürgen Raap

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