Biographic data
Carrying on the tradition of many 19th century sculptors, Jürgen Ebert works mainly in bronze. Most of his sculptures are figures. In this modern day and age what is so intriguing about an ancient technique to fascinate the artist Jürgen Ebert? And this technique has fascinated him for many years, and what are the distinctive, personal ideas which he translates into the traditional medium of bronze? Bronze castings allow the artist to create objects with a strong force of expression. When cast in precious materials, once familiar objects undergo visual transformation, enabling the viewer to see them in a different way. The distinctive aura and expression of timelessness radiated by bronze are, interestingly enough, especially important at a time when a lasting definition of what art is or what is important about art can not be specified.
Jürgen Ebert’s sculptures cleverly show the manifold possibilities available to the artist when casting in bronze. Upon approaching his works, walking around them and letting them work on us, we are surprised by yet another surface texture: we see smooth plains and generous modelling contrasted by agitated, almost impressionist surfaces. The artist’s intention, his thoughts and his feelings are always evident.
Light and shade play upon the surface, on the one hand highlighting the numerous, individual structures of the objects and on the other hand evoking a constant change of optical impressions which is what makes looking at a bronze sculpture so attractive. The impressive formal strength of his works is founded on Jürgen Ebert’s expertise. Ease of design and composition can only be achieved by solid groundwork - an ease which disguises the artist’s intensive effort in the studio while he wrestles with each detail.
Communication – this theme has pervaded Jürgen Ebert’s sculptural work for many years. Not in vain has he devoted himself to a subject which enables him to explore communicative structures in human relationships by showing his figures in groups of twos or threes. And exactly this is the essence of his artistic vocation and creative drive.
Fully aware that, during the history of art, the human form has been shown in the most varied ways, Jürgen Ebert breaks with traditional ideas even though the language of his sculptures would suggest he is purely traditional. It is, if anything, the sculpture’s own topic and not its style which makes his work so up to date, so relevant.
To meet and to communicate with one’s fellow humans – an important matter not only for Jürgen Ebert personally but nowadays also for politics, society and increasingly for the business world. The subject of meeting and communicating with others is very evident from the sculptures in his showroom. Non-traditional or anti-cultural approaches are deliberately set-off against an attitude which carefully examines long-standing, conservative values and endows these with a positive countenance.
Reality and abstraction permeate and determine each other. And it becomes clear that the level of reality dominates only on the surface in Jürgen Ebert’s sculptures, for reality is always supplemented by the inevitable association of the abstract.
The sculptures which Jürgen Ebert has created for public places demonstrate interaction between sculpture and architecture. The viewer can see clearly from the composition of his works how intensively the artist was engaged with the locality in question, how important is the interplay between his sculptures and the surrounding architecture. In his bronze sculptures, art wins back a piece of life by combining serious thought with emotional presentation.
Jürgen Ebert’s sculptures cleverly show the manifold possibilities available to the artist when casting in bronze. Upon approaching his works, walking around them and letting them work on us, we are surprised by yet another surface texture: we see smooth plains and generous modelling contrasted by agitated, almost impressionist surfaces. The artist’s intention, his thoughts and his feelings are always evident.
Light and shade play upon the surface, on the one hand highlighting the numerous, individual structures of the objects and on the other hand evoking a constant change of optical impressions which is what makes looking at a bronze sculpture so attractive. The impressive formal strength of his works is founded on Jürgen Ebert’s expertise. Ease of design and composition can only be achieved by solid groundwork - an ease which disguises the artist’s intensive effort in the studio while he wrestles with each detail.
Communication – this theme has pervaded Jürgen Ebert’s sculptural work for many years. Not in vain has he devoted himself to a subject which enables him to explore communicative structures in human relationships by showing his figures in groups of twos or threes. And exactly this is the essence of his artistic vocation and creative drive.
Fully aware that, during the history of art, the human form has been shown in the most varied ways, Jürgen Ebert breaks with traditional ideas even though the language of his sculptures would suggest he is purely traditional. It is, if anything, the sculpture’s own topic and not its style which makes his work so up to date, so relevant.
To meet and to communicate with one’s fellow humans – an important matter not only for Jürgen Ebert personally but nowadays also for politics, society and increasingly for the business world. The subject of meeting and communicating with others is very evident from the sculptures in his showroom. Non-traditional or anti-cultural approaches are deliberately set-off against an attitude which carefully examines long-standing, conservative values and endows these with a positive countenance.
Reality and abstraction permeate and determine each other. And it becomes clear that the level of reality dominates only on the surface in Jürgen Ebert’s sculptures, for reality is always supplemented by the inevitable association of the abstract.
The sculptures which Jürgen Ebert has created for public places demonstrate interaction between sculpture and architecture. The viewer can see clearly from the composition of his works how intensively the artist was engaged with the locality in question, how important is the interplay between his sculptures and the surrounding architecture. In his bronze sculptures, art wins back a piece of life by combining serious thought with emotional presentation.