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Work Samples

Gaia Cycle Panorama

Gaia Cycle Panorama

Rape of Medusa

Series of Gaia Rise Acrylic and mixed media; commercial cleaning mop heads, incorporated into multilayered corrugated cardboard and packing paper 90x10x100” 2019 Among others, I include the snake hair monster Medusa as an extended Gaia version allowing to expose female deities that are commonly marginalized as terrifying powerful women. As an ongoing commitment, I reconnect empathically with Medusa.

MANTLES

Five modular sculptures Outdoor UV paint on steel, 90 inches high, 40 inches diameter Installations of MANTLES at GUILD resident courtyard at the Navy Yard in Washington DC. The playful and colorful concept offers a site where residents can explore and interact with the outdoor space. The vitality of the setting of five modular sculptures translated from cardboard into steel structures organically circulate throughout the courtyard MANTLES, reflecting on coats or coverings of all sorts, act as sculptural modular elements that offer spaces for play, rest, and respite.

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About Artemis

Baltimore County

Artemis Herber's picture
German-born artist, Artemis Herber has exhibited her work throughout the USA, Germany, UK, Italy, Portugal and Spain. Highlights include Munich Airport, Albright-Knox Art Gallery, San Jose Museum of Art, Cheltenham Museum and most recently the American University Museum of the Katzen Art Center.   Herber is an award-winning artist in both mediums of sculpture and painting. Being of Greek heritage she developed concepts on how... more

MONO-POL-LITHIC

Mono-pol-lithic . This is the first set “Das Monopol”, charcoal on paper, 24x36” Starting with a new series, I am interested in how political agencies have transformed and depleted the land and what kind of manifestations of architecture and structures of power are revealed. I would like to question how references between deep time, the lay of the land, and its monuments can be expressed today.⁠

The second set “Die Lichtung”/“The Clearing”, charcoal on paper, 24x36” The idea of „The Clearing“ refers to distorted urbanization of dense jungle of signs in a liminal state of disorientation. While I find clarity and enlightenment in the natural world, deforestation, devastating land seizure, and developments create a bewildering and obscuring presence. Starting with a new series, I am interested in how political agencies have transformed and depleted the land and what kind of manifestations of architecture and structures of power are revealed. I would like to question how references between deep time, the lay of the land, and its monuments can be expressed today.⁠

The third set of “XTrata”, “Amazon”, and “Gates”, charcoal on paper, 24x36” all big Corp. names reference Capitalocene and impact of deep time. Starting with a new series, I am interested in how political agencies have transformed and depleted the land and what kind of manifestations of architecture and structures of power are revealed. I would like to question how references between deep time, the lay of the land, and its monuments can be expressed today.⁠

GAIA RISE

Herber combines Western origin stories of mankind and the earth with a contemporary apocalyptic vision. Earth’s steadfast base is now a ravaged, abraded, and degraded beauty. Her starting point is the birth of Gaia, Mother Earth, who emerges from a tangled, chaotic nest to rage against human desecration of the planet. Herber’s cyclical themes meld classicism and a revival
of eighteenth century sturm und drang, with a touch of Caspar David Friedrich’s (1774–1840) Romanticism blended in. Herber is clearly inspired by Kiefer’s confluence of history and landscape. Both work on a spectacular, grand scale, looking both forward and back. While Kiefer employs unconventional materials such as lead and straw, the densely layered surfaces of Herber’s tactile landscapes are built up with dirt, charcoal, and marble dust. Out of ecological consideration, Herber’s “canvas” is recycled, corrugated cardboard. She reuses other materials such as a mop, honeycomb, a woman’s nightgown, all repeatedly wet, wrung out and reassembled. This process, and the curved, enveloping, cyclorama presentation of the paintings, reinforces the theme of tectonic history repeating in an endless cycle of creation and destruction. In Herber’s work, time is mythic and geologic.

  • Gaia's Memory

    Series of Gaia Rise Acrylic and mixed media; layers of watered, wrung out and unfold sheet of corrugated cardboard, rearranged and applied on corrugated cardboard 90x5x115” 2019 The two female figures references from the Parthenon Frieze at the British Museum, London. During theCoLAB Historic Residency I took the opportunity to explore Gaia myth and female powers in connection with aspects of geologies and deep time. Gaia’s Memory, also known as the Muse Mnemosyme, is Gaia’s daughter.
  • Perseids

    Series of Gaia Rise Acrylic and mixed media; molded hand in-prints, gold embellished, incorporated into multilayered corrugated cardboard and packing paper 85x3x100” 2019
  • Melancholia

    Series of Gaia Rise Mixed media
    Series of Gaia Rise Mixed media (acrylic, coal pigments, shellac, honeycomb, packing paper) on corrugated cardboard, glued together and partially hammered out digging holes into the accumulated material, washed paint, filled coal pigments, continuous collaging/de-collaging, disintegration and reconstruction 90x3x100” 2020 The title of “Melancholia” refers to Lars von Trier’s film, in which we see Earth aligned with a red, planet that turns out to be Melancholia.
  • Medusas Rape

    Series of Gaia Rise Acrylic and mixed media; commercial cleaning mop heads, incorporated into multilayered corrugated cardboard and packing paper
    Series of Gaia Rise Acrylic and mixed media; commercial cleaning mop heads, incorporated into multilayered corrugated cardboard and packing paper 90x10x100” 2019 Among others, I include the snake hair monster Medusa as an extended Gaia version allowing to expose female deities that are commonly marginalized as terrifying powerful women. As an ongoing commitment, I reconnect empathically with Medusa.

AUTOCHTHON

In her large-scale works made primarily of cardboard, Artemis Herber explores the significance of deep time and the environmental impact of mankind in the Anthropocene. The title of Herber’s SOLOS project, Autochthon, points to her interest in Greek mythology and in human relationships to geologic forms. In mythology, autochthones are mortals who have sprung directly from the soil, rocks, and trees. In structural geology, an autochthon is a large mass of rock which remains rooted to the foundation rock on which it originally formed. This rootedness or sense of place stands in sharp contrast to the destabilization wrought on the earth by human activity. Through her use of corrugated cardboard – a ubiquitous signature for our globalized consumerism – Herber connects the material and conceptual foundations of her work. Herber’s bold creations draw attention to the entanglements between nature, the economy, and environmental degradation, examining the impact of land seizure, exploitation, and large-scale migration on our relationship to the earth.

Catalog Excerpt

  • Wrinkles in Time

    Wrinkles in Time Acrylic on corrugated cardboard 120 x 90”
  • Authochthon I

    Authochthon I Acrylic on corrugated cardboard 25 x 70”
  • Autochthon II

    Autochthon II, Artemis Herber
    Autochthon II Series of Autochthon Acrylic on multilayered corrugated cardboard 30x10x40 “ 2018

MANTLES

Five modular sculptures

Outdoor UV paint on steel, 90 inches high, 40 inches diameter

Installations of MANTLES at GUILD resident courtyard at the Navy Yard in Washington DC.

The playful and colorful concept offers a site where residents can explore and interact with the outdoor space. The vitality of the setting of five modular sculptures translated from cardboard into steel structures organically circulate throughout the courtyard

MANTLES, reflecting on coats or coverings of all sorts, act as sculptural modular elements that offer spaces for play, rest, and respite. MANTLES are an integrative installation for

a residential multi-use space for lounging and entertainment options. The ground level provides a natural feeling for all residents that include recreation, gatherings, and activities. A flowing design, sculpturally succinct, and BAUHAUS oriented design features, integrates into a contemporary concept.

MANTLES expand into the larger environment of a built community while staying true to arts and gilded field of design. The installation site offers generous openings and easy passages. Connecting people with the building activates the space and engages the public realm as connectors, dividers or privacy screens. MANTLES in their vertical appearance offer ‘fabric’ folds for socialization and lingering in numerous nooks, where residents can sit, stand, lean on or play. This connection creates a unique experience for visitors while suggesting a warm climate of living, coexistence and interactions that occupies common spaces, provoking a dialog about space as a field of possible action.

The concept is based on the idea to create a unique experience of respite and fluctuation understanding place as changeable, dynamic and harboring at the same time. The setting functions as a spatial activator and amplifies the surrounding scenery that creates a field of possible action. The sculptural setting allows for recreation, gathering and play that is promoted through the openings of the installation and implicated spheres of activities.

  • MANTLES

    Five modular sculptures Outdoor UV paint on steel, 90 inches high, 40 inches diameter
  • MANTLES

    Five modular sculptures Outdoor UV paint on steel, 90 inches high, 40 inches diameter
  • MANTLES

    Five modular sculptures Outdoor UV paint on steel, 90 inches high, 40 inches diameter

Artemis's Curated Collection

This artist has not yet created a curated collection.