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The artist Dörflinger

Johannes Dörflinger was born in Konstanz in 1941. He grew up in the old part of town, not very far from the border area with its fence between Germany and Switzerland. He attended the Acadamy of Arts in Karlsruhe and the University of Arts in Berlin. Afterwards he spent some time abroad, first in London and then in New York, where he worked as a lecturer of painting at the New York University in 1969.


Dörflinger lives and works not only in Konstanz, but also in London, on the Mediterranean Isle of Gozo, and in the Black Forest. The Isle of Gozo features a specific sort of light that the artist appreciates very much. Therefore he prefers to paint in pastel and as a sculptor while staying on Gozo. In the Black Forest, Dörflinger primarily concentrates on drawing and – as he does in London as well – on working in oil. During his periods in Konstanz, however, he mainly focusses on polaroids and miniature sculptures. Johannes Dörflinger has received numerous awards and scholarships, his works can be found in many renowned museums all over the world as, for example, in the Guggenheim Museum and the Metropolitan Museum of Art in New York, in the Albertina in Vienna, and in the Tate Gallery in London.


"Johannes Dörflinger addresses elementary subjects of the human existence and existential forms, embedded in cosmic dimensions", the art historian Siegfried Gohr explains. Tree, bird, mountain, and tarot motives are recurrent topics of his artistic production. For 40 years now he has dealt with the subject of tarot. "My understanding and interpretation of tarot has got absolutely nothing to do with esoterism, crystal ball gazing or fortune telling", Dörflinger emphasises. What appealed to him has always been the fact that and how universally human experience can be summarised in a symbol. With the Art Border he has now created a landscape work of art offering impetuses, initiating associations, but leaving it open to the individual viewer to form his or her own opinion. The artist will definitely not provide a generally valid interpretation of the Art Border because it’s up to each person to form a – different – view on this work of art.


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