Lia-Art, the original from artlia

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The journey of all these encounters began with a name. When I named the artlia gallery, I really wanted to incorporate the English word "art" and was also looking for a suitable ending that could either come before or after "art". From options like artlix, artlie, artlas and artlia, I chose artlia. Starting with an 'a' and ending with an 'a' seemed phonetically appropriate and aesthetically it fit well with the logo. After careful consideration, artlia was selected. However, there was an obstacle: the domain artlia.com was already in use. Despite contact with the owner of artlia.com when starting artlia, she was unwilling to give up the domain that contained her lifelong artistic pursuits.

Originally based in Germany, we started atlia with the domain artlia.de. Over time, artlia experienced gradual growth. In order to expand our reach beyond Germany and establish artlia as an international gallery, securing artlia.com became essential. So we contacted the domain owner again. At this point in time, artlia.de had already grown significantly under the name artlia and was mature enough to adopt and implement the artistic philosophy of Amalia Broecker-Jakob, the owner of artlia.com. Consequently, two artlias merged into one, inspired by the timeless nature of the same name. The 21st century artlia met its 20th century counterpart, artlia's origin story, and enriched their union with depth and meaning.

Although artlia originally started as an online gallery, meeting the artist Amalia allowed us to integrate her story and philosophy, thereby creating a solid foundation for further growth and development.

Amalia Broecker Jakob at the Germanic Institute

Amalia Broecker Jakob was born in Yugoslavia in 1942 and spent most of her life in Zagreb. Today she lives in Opicina and presents her debut solo exhibition. In Zagreb she completed her studies in philology and studied art history with professors Gamulin and Prelog. She published poems. A weight can be felt in her paintings that results from her diverse training and her various activities.

There is a continuous effort to express what is important and to represent it correctly. This leads to her painting small paintings consisting of a few characters and to her expanding the discussion to eight cycles of paintings, each dealing with a theme: Apples, Garden, Adriatic Sea, Pines, Zagreb and the Zagreb Mountains, The Road to Light, corn, Markus. It is based on a reading of the truth that is already a pictorial figure (form) - color, color spot.

Unlike music, their neo-divisionalism does not consist of one recognized figure. The truth sometimes acts as a different incentive. But she's really unstable. It could slip out of your hands. Therefore, Broecker-Jakob develops the cyclical discourse towards symbolist meanings. She does this with grace and moderation. Sometimes she expands the spirals, the spirals of spots, to the point of alluding to a cosmogonic vision. Elsewhere, she assigns an existing color the task of representing a particular state of mind. The two systems interfere with each other, and that is the main reason for the interest. Broecker-Jakob is a painter who can be studied with respect.

GIULIO MONTENERO DER KLEINE, TRIEST 1977

The symbolic "apple" in the painting by Lia Jakob

It is not painting if the color remains mute. Lia Jakob's "picture diary" is located here: watercolors, tempera, oil - these are perceptions, wishes, hopes. What sets this painter apart from others who, like her, engage with the often troubled expression of contemporary art is an imaginative attitude that springs from a wellspring of continuous emotion.

The lines form the primary structure of the picture's architecture, and the colors are the chromatic scores that bring the painted surfaces to life. Colors can obscure drama or reveal the truth.

For Lia Jakob, color and psychology and their reflection in life are the roots of an intimate feeling that leads the artist to recognize in the color red his own source of life: an existence that is sometimes embellished with gold and more. However, the suspicion and threat from Schwarz weigh heavily.

Jacob's "red" is an individually "learned" color and the color of blood, life, love, revolutions. It is a motor element that, if there is something violent and energetic about it, also expresses decisions, victories, joys. These colors - red and precious gold and black, as well as the other colors that the painter loves, namely the yellow that illuminates, the green of spring in the still brown fields, the blue of a happy folklore - combine very unique themes: the apple , the trees. An "apple" that needs to be "read" in the situational context of the painting; the tree archetypes or ideals of proto-trees that embody human figures; that point us to social situations, adaptations or needs.

However, the absolute protagonist in Lia Jakob's paintings is always an apple. Amid the tangle of black branches that threaten him from all sides, or twist freely on the white sheet, a beautiful red apple, which is heart and nest, strives for unacknowledged tenderness, protection and security.

An apple from which joy and pain radiate: an apple that opens with love; which secretes many small colored dots, a kind of confetti, or is divided into colored stripes; an apple, often tearful, whose drops form an aureole or collect in streams at its base; or finally even sick and trampled in its vegetative fullness. These paintings, in which the artist temporarily lies on the floor, express the urgency to feel a more direct contact with them.

He acts close to nature by distributing the colors with his hands: the "brush fingers" then expand and the color spots growing from the inside expand and form the contours of the fruit.

Here, with the circular movement of her hand, the painter almost evokes a peculiarity, a gesture of acceptance, which creates new spatial depths. This theme, so lyrically caressed with the voice of color, enlivens a rhythmic-musical experience that merges and interpenetrates with the artist herself: a theme with which Lia Jakob identifies and which she lives with a longing to experience community.

In a kind of emotional-psychological dictate, the artist connects with the imaginary navel of his love, of all his feelings; he allows himself to be pushed into the center of fertility, into an intimate and secret space that makes his heart the temple of a harmonious cosmos.

LUIGI DANELUTTI LITTLE ILLUSTRATED TRIESTE 1979

Color and sound work together in her art

As an introduction to her work, Lia Broecker-Jakob then read some of her poems in Croatian and German in order to achieve a more dense interpretation of her images through the interaction of color and sound. Sensations from their old and new home on the Rhine merged together.

It seems that this artist's task is to free herself from the illusion of ephemeral life and to portray the absolute being that lives behind the appearance we see. The subject is still recognizable in the representational form, but as a symbol it has already been elevated to a higher level of meaning: This is a turn inwards and outwards at the same time.

The dissolution of known orders, the separation of what connects, the independence of the individual parts, the dynamization of the static are shown in the variations of the basic motif "apples", which appear to be playfully developed from the form. Melancholic alienation and encrypted fear of time, search for home and uncertainty look at us in equal measure.

These images create an unusual fascination for the viewer. The situations have taken on their own: folkloristic elements confront the sparsely designed landscape experiences in one picture and force it to form a unity.

In addition to this legend, there is the view that the primary tendency of color must be to serve expression as much as possible. All shades appear without bias, their expressive values ​​are open to interpretation. You can see that the choice of colors here is not based on a scientific theory, but on observation and sensation at the same time.

The painter's experiences of charm allow the complementary colors such as red and green to come into play and thus have a doubly strong effect, even in symbolic terms. The variations of the apple, motif of stylistic permutation, eternal change and the different milieu embeddings reflect joy, pain, love, fertility and memory. The series of the "Bora", the sharp downdraft of the Adriatic, impresses with its extensive abstraction, because wind cannot be painted, but its consequences can be captured.

They are the focus, and she describes the diverse influences of her life, her personal "homeless in the homeland" shows the artist looking for a new way of life up to the Middle Rhine.

You are the attempt of a symbiosis, of a coexistence of heterogeneous elements, as they slumber in every person, whether recognized or unrecognized.

In the 6th section, “My city is a great remembrance this evening,” childhood and youth memories are recorded and artistically implemented.

Seen as a whole, this is the unified work of a painter who, in her powerful creative joy, finds new forms of symbolic design and manages to introduce herself to the viewer not only as an artist, but also as a human being.

LEOPOLD ENZGRABER, RHEIN ZEITUNG, 1980

I sense my presence through the secret meaning of an image

His

In a single line of poetry, arbitrarily selected from hundreds of written thoughts, life moments and definitions are reflected that not only determine the artistic starting point of the personality. They encompass large parts of everyday existence, and Amalija Broecker-Jakob describes this existence in image and word because it is not exclusively her own. It concerns us all, even though some peculiarities in the artist's life path naturally must set different accents, which, when formed into images, may initially seem unfamiliar. If one does not shy away from a little pathos, the fundamental situation could be quite accurately described as 'uprooting', from which Lia Broecker-Jakob derives her reflections on life and art, on humanity and the environment, or on aesthetic experience as a whole. For the most enduring constant in her life is probably the geographical-topographical change, a restless wandering from one land to another forced by circumstances. How could this not affect a sensitive consciousness, even unconsciously? Every slight disturbance of the increasingly uncertain ground can be read in the gradual transformations of the chosen forms, as well as the contents in the images. In this constellation, the Yugoslav homeland becomes the resting, reliable center linked with corresponding longings, without however showing the frequent sentimental visual metaphors to which many artists succumb without resistance due to their overwhelming aesthetic power. Lia's works are of a much more complex nature, although given her transition from Yugoslavia to Italy or Germany, the 'uprooting', one might attribute a relatively simple perspective of crude curiosity about the Other, the sensed but unknown, to her. Definitions from various angles arise quickly in today's art scene, often requiring considerable efforts to break free from 'image' constraints. At some point, Lia discovered the tradition-laden and symbolically rich form of the apple as an aesthetic sign, as an embodiment of female and male principles and their connection: A truly fruitful engagement with the possibilities contained therein began.

Last year's exhibition at her fellow artist Otto Schliwinski's in Essen, however, quite surprisingly painted a completely different picture of Lia as an artist. No trace of fixed metaphor; The constantly observed processes in the country that has now become his "home" corresponds to the persistent search for the adequate formal expression - the age-old basic problem for the artist. It is the "feeling" from the line of the title that welcomes the unexpected intrinsic value of many everyday objects and their painterly structures. However, these are not used arbitrarily, but rather describe very precisely psychological reactions to the artist's concern about what moves and threatens us every day in our world today. At the same time, the respective colors in the picture are selected and coordinated with extreme sensitivity, and even without in-depth knowledge of the color theories that have changed since antiquity, the intended mood (this term, which is quite discredited in our art in our country), should be communicated to the unbiased viewer that she has an emotionally uncomplicated effect on him. The craftsmanship that is visible “up close” gains significance as an equally important component of persuasive power: it is consciously derived from well-known patterns of textile handwork, and even uses them in real life as a printing stencil or graphic model that is traced. There is a great danger of slipping into a nostalgically colored traditional painting with such always recognizable formal elements, which would convey nothing but the infinite sadness of something that is inexorably being lost. Today everyone is aware of the sometimes deplorable results that were made possible by the unscrupulous exploitation of a folk art - the Yugoslav example of so-called "naïve art" and its commercial exploitation in other countries may illustrate the extent of this danger.

Lia blocks such tendencies, which ultimately lead to leveled aesthetic consumerism, with her archetypically effective imagery of eggs and apples, nets and ladders, doors and bars, grasses and trees, shells and threads, but also: vermin and plastic rings on beverage cans . All of these things merge individual feelings from one's own social well-being with overarching temporal phenomena that generally affect people and the environment. Destruction of the usual ambience, loss of human warmth, the concretization of the environment, fear of war and fear of the unpeaceful nature of humans can be seen in the special use of these objects. Monotony and lack of freedom materialize in monochrome, while aggression and fear emerge in strong, emotionally charged colors. In this way, the mood of an entire nation can be visualized, and foreign eyes undoubtedly see things more clearly. But they always look poetically, and in their most violent red-blue combinations can reflect the wildness of a Yugoslavian karst landscape as well as the unfathomably simmering political-social emotions in the current host country, Germany.

Lia consistently refuses to resort to non-committal lyricism or to accommodate the still widespread feeling in this country for the "exotic charm" of certain image details. The "feeling of the present" succeeds with a rich, sensually and emotionally highly developed instrument of artistic possibilities, which communicates itself without becoming uncontrolled. "Looking for the Door" - this title also describes the artist's situation exactly and her life-determining adherence to utopia in the most comprehensive sense.

Lia will probably only discover such utopian entrances and exits in her homeland.

Ingo Bartsch

THREAD AND LACE AS PAINTING MOTIFS

The Bauinstitut exhibits unique graphics by LIA Jakob Broecker, who is better known in Zagreb as an expert in German studies, having worked as an active pedagogical worker for eight years. She studied painting in Essen with the painter Otto Schliwinski. Her efforts to penetrate the laws of painting, to experiment with printing lace as a template, and to create unique graphics in her own specific way distance her from amateurism (by which we mean a genre rather than a status).

LIA Jakob Broecker grew up in Županja and threads, lace and embroidery were part of her everyday life from a young age. Like many painters, her childhood in the countryside became an inexhaustible source of inspiration. This folkloric detail of her biography acquired new and even stronger dimensions when she went abroad (she now lives and works in Rome).

Your main activity in this printing cycle is threads. The threads that she encountered since childhood and which, in the hardworking hands of women, transformed into beautiful embroidery and lace, into stories. The threads in LIA Jakob Broecker's graphics hang like free abstract patterns or are woven into references to experiences and feelings. Prints of original Slavonian lace become a new transformed beauty on sheets of paper or silk, satisfied with themselves, or they fit into a part of the landscape. While some graphics, with their play of colors from dark to very subtle light tones, are simply attractive and decorative and symbolize certain moods, some graphics, with their more complex composition (and the introduction of figurative elements), seem like sophisticated achievements. They contain the poetry of a very sophisticated painter. We believe that this painter's further creativity will follow this path.

BRANKA HLEVNJAK, OKO, 1982

FLIGHT MELODIES

Based on a subtle weave that is almost reminiscent of the warp of a fabric, the narrative side of Lia Broecker-Jakob (born in Yugoslavia and in love with Rome) develops through delicate poetic modulations, sensitive to the figure of things and perceptions discovered with care. What follows is a chromatic structure that pays attention to the balance of tone and motivated risk (the suggestion of its red tones), orienting the story towards fantasy and metaphor (see the insistence on the symbolic value of the apple), "so that the evocative power arises," which accompanies the individual phases, dissolves into fleeting visual melodies.

VITO APULEO (il Messaggero, January 1985)

RICCARDO REIM FOR LIA

There is a strange and unusual (but not too much: dreams and nightmares are universal) analogy between Lia Broecker's paintings and those of Füssli. In the spots, the color fusions, the scribbles of his creations nest figures and small animal figures, small ladies dressed in black, dwarves and big or small familiar monsters, never anything in between - together with the constant symbol of the apple, original and philosophically tempting. Ripe and rosy apple like a girl's cheek or dry and gray like the ashes of a now ice-cold fire. The apple can be divided into four parts (kabbalistic and perfect number expressing the succession of the seasons) or united in a single sphere, sensual and infinite. An apple like a never-cut umbilical cord from Drohpia's childhood (in this case in the East), which survives in the memory of farmer's smells and patient women's work, of long, very cold days characterized by the penetrating scent of fruits preserved at home. A painting to read, that of Lia, like a real intimate diary, meticulously noting facts, events and words: the cruel path of memories winds winding and seemingly inaccessible between the ghosts of people, etc.) disappearing forever in a kind of procession , the auction (especially for oneself) of everything that now lies behind us, past but always present.

ROM, 1985

THE WORLD IS AN APPLE

The apple is the scent of a completely internalized femininity, the symbol of hope and a city, Rome. It is a small, perfect nucleus for all communication, in which old emotions, new wonders, playful curiosities are enclosed in the round language of affections, fishing between the levels of memory and bringing out unusually connected, sometimes dreamlike images from the heart - like from a magician's hair. The sometimes desperate, sometimes clear and serene search is that of harmony, a whole into which one can reintegrate or in which one can close oneself, in order to belong to the most beautiful sides of immanentist thought, as it is written. Lia Broecker's paintings are painted in oil on handmade paper and are accompanied by a beautiful catalog of numbered specimens, entirely created by the painter using artisan methods, as well as a series of texts. The apple is subject to this: a "structure in constant movement, often combined with very elaborate lace, in an obsessive reminder of the Slavic tradition." The thread, with its numerous, difficult and intricate courses, represents a counterpoint to the naked and primitive liveliness of the fruit, in which the woman sees traces of an identity.

ISABELLA DONFRANCESCO

(The Book Informer, 1985)

AMALIA BROECKER-JAKOB

Her painting seems to arise from a well-thought-out and rigorous program, carried out with essential means and tight rhythms, from which the voices of the heart nevertheless emerge. The clear disentanglement of the expressive signs (mainly light filigree chains, sequences of small connected rings, flexible threads and ribbons, sketches like petals or confetti, etc.), the mostly controlled expansion of color values ​​and the general geometry of the joints, all condemn the attempt to achieve a constant harmony of thinking, which is also the rule of instinct or the feeling for life.

But the search for harmony, which tends to be fixed in the musicality of the modules and in the persistence of some themes, is realized through subtle and complex variations, with a wisdom that seems to constantly doubt itself and that experimentally develops its own Suggests reasons, even the most secret of the heart. Therefore, the control of emotions is much more apparent than real: it works as long as the emotional tension breaks out and tears the threads of the intellect.

And the figuration, the sign and the color emerge little by little from the figurative reflection, then, albeit through the concern for a programmatic normativity, the image from the boundaries of the backgrounds; They act, interfere and live freely on the surface in an open and suggestive imaginary dimension full of symbolic meanings. The unsymbolic variations in the intimate and fertile context of the artist and his cosmos. The image becomes a pretext and the fixedness of the subject or topic is an incentive for analysis.

Among the symbolic references, the most fascinating is undoubtedly the apple: whole or halved, strong or crushed, alone or among others, the apple is always the sign of a state of mind, sometimes reaching naturalistic tones of lively transparency and high lyricism for the semantic effectiveness and for his numerous "I am an apple", as if he wanted to point out not only his imaginative versatility or his values, which are also endowed with an extraordinary poetic streak - he wrote about himself: "I am a woman", biblical-mythical connotations . It is no coincidence that the artist - affective and creative, but also her conscious participation in life, her fate as a woman - represents the real meaning of life.

MARIO D'ONOFRIO, Rome, 1985

NEW TIROLER ZEITUNG - 13/ Culture

Words and images overcome boundaries

THE EXPERIENCE Italy as a creative impulse, implemented in words and images: That was the commonality of two encounters on Monday, which the Italian Cultural Institute arranged in the university and in the Raiffeisen Hall on the market square.

From JUTTA HÖPFEL

For Amalia Broecker-Jakob, a German scholar from Zagreb who lives in Rome and has been inspired and trained in a variety of ways in Italy and Germany, the departure from her Croatian homeland was also a departure of her own personality, which unleashed her artistic and literary vitality. Just as Germany trained their intellect, Italy trained their senses. The results are poems that reveal a suggestive wealth of images and paintings that are full of narrative inspiration. A selection of these images now hangs in the exhibition room of the Faculty of Humanities. Univ.-Prof. Dr. Zoran Konstantinovic, head of the Institute for Comparative Literature, was able to welcome celebrities from the public, consular and cultural sectors, as well as many interested students, to the opening on Monday.

Amalia Broecker's mixed techniques are not apparent to the viewer at first glance; they only reveal their secrets after loving contemplation. They are images that reveal a lot of autobiography. The artist may have brought with her a preference for fine lace from her Zagreb homeland, which, together with other filigree webs, represents a typically female artistry. The painting surface also plays a role: silk occasionally or repeatedly appears in these compositions, as if it were a signal of a hand-made handmade paper, as it is still made today in the ancient Cartiera Amatruda in Amalfi, is the material on which the artist uses ink pen , watercolors or sometimes oil. Like fragments of thoughts and memories flying by, graphic signs and symbols arise from the subtle, calm tones: rosettes of Roman basilicas, capitals of ancient columns, domes, stones, old walls, battlements of medieval castelli - always surrounded by veils and transparent fabrics, poetic images Raised from dreaming and made to dream again, full of reminiscences and longings. Come with us on the Via Appia antica, they seem to say, let yourself be carried away from the silent dust of time into a world of fantasy, into the intermediate realm of dreams, where present and past flow into one another...

LIA BROECKER-JAKOB

• Born 1942 in Županja (Jugoslawien).
• 1968 studied German and art history in Zagreb, Frankfurt am Main, Nuremberg and Dresden.
• 1969-1975 teaching activity in Zagreb.
• 1972 Publication of workbooks for German lessons.
• From 1975 to 1985 she lived in Belgrade, Trieste, Boppard am Rhein, Rome and Munich.
• In 1979 she began studying painting.
• Publication of the volume of poetry "Htjedoh jabuku rascrvenit".
• 1979 Award for the picture “Boppard in Germany” at the Rhenish Banks Competition, inclusion in the wall calendar.
• 1984 Publication of the volume of poetry “Poesie” in German and Italian.
• Currently lives and works in Rome and Munich.

EXHIBITIONS

• 1977 Goethe Institute, Trieste.
• 1978 Palazzo Costanzi, Triest.
• 1979 Biblioteca Germanica, Milan, with the Galleria Carini, Milan.
• 1980 Gallery Burg Rheinfels.
• 1981 Gallery “Atelier”, Essen.
• 1982 Gallery "Windows", Zagreb, Gradevinski Institute, Zagreb, Municipio Velletri.
• 1985 Galleria "Tempo d'oro", Rome, Galleria "Leonardo da Vinci", Rome, University of Innsbruck with the exhibition "Image and poetic thought".

Solo exhibitions

• 1977 Goethe Institute, Trieste.
• 1978 Palazzo Costanzi, Triest.
• 1979 Biblioteca Germanica and Carini Gallery, Milan.
• 1982 Galerie Prozori, Zagreb, und Bauinstitut, Zagreb.
• 1984 Town Hall of Velletri.
• 1985 Golden Time Gallery, Rom, Galerie Leonardo da Vinci, Rom.
• 1988 Goethe Institute, Munich.
• 1989 Galeria Maatois, Munich, Galima Hanfitaengel, Munich, Gallery "Quality of Life", Munich.
• 1990 Gallizia Art Nouveau, exhibition and literary event entitled "Signora terra".
• 1996 Gallena Veliki kraj, Županja.
• 2000 Mandala-Ausstellung, Skale Kirc-Labor, Dragan Sekulić.
• 2002 Exhibition in the Art Gallery, Pula, Exhibition Intuitive Drawing, Pula, in the Art Gallery.
• 2004 exhibition in the forum room of the Diana Gallery, dedicated to her village of Kavran.
• 2005 prayer cycle "Let us pray with the angels", prayers on handmade paper.
• 2008 Exhibition "Gold Files", paintings, tapestries and embroidery from Posavina Gallery Veliki kraj Zupanja.
• 2010 Exhibition "Golden Thread", Tapestry Exhibition, Gallery Veliki Kraj Zupanja.
• 2011 Exhibition about the Maldives in the Indian Ocean, Malilive Gallery Kamenite priče Valle.
• 2012 Exhibition of monotype (graphic) prints, ararai, Posavina embroidery and artistic books with handmade paper, Italian municipalities of Rovinj, with the title "On my grandmother's lace pillow the masters sleep".
• Study trips to North America, visits to the Hepi Indians, China, England, Spain, pearl mining in an artists' colony on Mallorca and Morocco.
• She has lived and worked as an artist in Germany and Italy since 1975. She currently lives and works in the studio in her home village of Kavran, 52208 Krnica.

All good things are precious

I greet you with the color deepblue, the color of silence and meditation, with the symbol of the white elephant, which embodies strength and wisdom, and my photo of the rooftop in southern India where I practiced yoga. This is all good and precious to me, just like the numbers 4 and 1, who offer me stability and guidance. If you feel addressed and attracted, please continue browsing.

I am a traveler and a crosser between worlds and cultures

I was born in Croatia in 1942 and was raised and formed in the world. In Zagreb I completed my studies in German with Prof. Zmegac, in Essen I completed my private studies in painting and in Würzburg I completed my studies in creative media at the Institute for Integrative Gestalt Therapy according to Fritz Pearls and Martin Buber.

I have lived in Europe for over thirty years and during this time I have exhibited monotypic paintings, watercolors and drawings in forty individual and collective exhibitions. At the same time as painting, I wrote poems, writing them by hand on artistic papers and supplementing them with my own illustrations. I first bought the paper in Amalfi or China, but later I made the paper myself. Each piece of paper is a unique creation.

Handwritten and illustrated books (unique items):

Published books:

• I wanted the apple to blush
• When the soul returns home
• "Kavran Chronicle" zweisprachig
• “Towards the light”
• 14 years in India.

Art therapy and creative, free painting

The main emphasis of art therapy activity is painting with eyes closed and with the left hand. It is a miracle that painting “beautiful” pictures gradually turns into painting that gives the painter a basis from which he can get to know himself. “Know thyself,” the famous saying, is the main theme of art therapy; Through painting we get to know our inner and outer worlds and create contact with ourselves.

The effect of the unconscious images has something of fate about it. Maybe who knows? – these eternal images are what is called fate.

Traditional and innovative embroidery

When I was 4 years old, my mother gave me a needle and thread and introduced me to the art of traditional embroidery. This feminine art was practiced with great zeal by almost all women especially in the poverty conditions of the post-war period. Very early on I developed a preference for material, soft and colorful embroideries and a sensuality for art that has its origins in matter grew under my fingertips. At school of painting I chose monotype, a creative technique where the materials (fabric, lace, yarn) are roughly printed and then processed in color. I played with this technique for years and developed my own style during this time.

Hobbies from the applied arts

What emerged under the diligent fingers always resembled a bit of what one sees in applied art: ceramics, dolls made of papier-mâché, elaborate embroidery, art objects, painted and alienated hand tools, calligraphy scripts, woven and embroidered tapestries and painted stones.