Birte Bosse  

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CV Birte Bosse (*1984) grew up in Worpswede and in Kuhstedtermoor. In 2006 she graduated from the Fachoberschule für Produktdesign und Kunst in Bremen, in 2012 she received her diploma from the Hochschule der Künste in Braunschweig, where she studied with Friedemann von Stockhausen, Thomas Rentmeister and Bogomir Ecker. In 2013 she was a master student of Bogomir Ecker. In 2019 she was awarded a scholarship to study at the RMIT University Melbourne in Australia. The artist lives and works in Berlin.

 

 

 

Birte Bosse comes into contact with the visual arts at an early age. Training her senses are discussions about art with her father, also an artist, and interactions with the sculptural quality of the dental models of her mother, a dental technician with an equally artistic talent. From childhood, on through her studies and up to the present day, one theme is significant for the artist's work: the examination of the line. For the time being, this is done in sketches, drawings, and paintings. Parallel to this, having at first gone unnoticed by Bosse, is sculpture as a means of construction.  

In 2019, on a four-month trip across Southeast Asia, the artist encounters self-made shop signs and merchandise stands at markets and in front of small shops. Looking back, the bent and welded lines of the iron bars inspire her to transport her drawings into space. Back in Berlin, the creative process starts intuitively and becomes more concrete with time. The idea of bringing the lightness of her drawings to sculpture ultimately becomes the leitmotif of the new series of works. Twenty-four human-looking metal sculptures are created, which, under the title LE SQUAD, are shown for the first time in the Gisela Clement Gallery in Bonn. As in a family, the group of works is made of the same material, but at the same time composed of many individual personalities, all of whom are given a name by Bosse, each descriptive of their character.

But now individuals are isolated from the group - "The Farmer," "The Musician," and "The Confused" move into the rooms of the online exhibition CONTEMPLATIO. Looking at the three figures, one becomes aware of a personal and warm aura - a contrast to the cold material of steel. "The Farmer" seems like a tragic and comical figure in the form of a rake that collapses from exhaustion. "The Musician" is reminiscent of a tuning fork and, with its size and thin body, has something gangly about it, and "The Confused" seems to be continually revolving around itself. Through their humanity and the narrative nature of their appearances, all three enter into direct communication with the viewers. 

Text: Barbara Green, Photo: Meike Kenn

@2020 / contemplatio / Berlin