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Showing posts from September, 2025

Feature Post.

Along the Coast of Kovalam: On Fishing, Continuity, and Quiet Symbiosis.

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Author - Brian Hawkeswood.                                                                            Nach unten scrollen für die deutsche Übersetzung. Along the coast at Kovalam (India), fishing is not an industry so much as a rhythm—an inherited cadence that has outlasted empires, religions, and the modern impatience with anything that does not scale. Each morning, the boats return not as symbols of labour but as punctuation marks in a sentence that has been written and rewritten for centuries. The sea gives, the shore receives, and life adjusts itself—quietly, persistently—to the terms of that exchange. As the early morning passes boats steadily arrive reveiling their nights catch. People wait and buy straight from the fishermen. Kovalam January 2026. The abundance of fish in these waters has lo...
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The Ghost at the Border of Fields and Spremberger Evening Mood.

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Author- Brian Hawkeswood .             Two Recent Works by Chris Lóhmann        Scroll Down for English Version. Other pieces on the work of Chris Löhmann. https://artelbestudio.blogspot.com/2025/11/roots-of-discipline-in-garden-of-artist.html https://artelbestudio.blogspot.com/2025/08/mein-erster-blick-auf-chris-lohmann-my.html Das Gespenst am Rande der Felder   Die erste Begegnung mit Löhmann,s  Das Böse Gespenst in den Bäumen am Rande der Äcker… ist wie das Stehen an der Schwelle der Erinnerung selbst, dort, wo das bestellte Feld plötzlich in den Schatten der Bäume übergeht und in diesem Saum—weder ganz gezähmt noch ganz wild—eine Erscheinung wartet. Seine Kompositionen scheinen immer zu wissen, dass das menschliche Drama nicht im offenen Zentrum, sondern an den Rändern spielt, in jenen zweideutigen Zonen, wo eine Welt in die andere übergeht.    Chris Löhmann. " Das Böse Gespenst in den Bäumen am Rande der Äcker ...
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Everyone Is in Gethsemane: First Reflections on the Work of Karen Gäbler

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  Author- Brian Hawkeswood.                                                       Nach unten scrollen für die deutsche Übersetzung When sifting through the long register of Dresden’s Künstlerbund, I did not expect to come upon work that would stop me in my tracks. Yet there was Karen Gäbler. At first, I thought of composing a modest introduction under the title “My First Look at Karen Gäbler.” But almost immediately it became clear that her art resists brevity. To confine it to a first impression would be to diminish it. Her paintings demand space for thought, for the layering of interpretation, for silence even. They do not merely offer images; they pose questions that linger, pressing upon one’s own experience and memory.                                     ...
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