Artist StatementMy work, whether painting or sculpture, is spatial in nature. My sculptures are open by nature. Single segments create safe, warm realms and remind us of our nature – pliable, easily formed, changeable thus becoming inclusive, exclusive, and interactive simultaneously. As groups, various dynamic relationships are being formed, and another with the viewer who walks through the room installation with surprise openings obtaining new perspectives of the sculptural settings. Known as the ‘Beige Gold’ I process cardboard in my paintings and sculptures; the ubiquitous signature for our globalized consumerism – now the market indicator of global consumerism and trade, into art by valuing the material and its transformation from artless into something artful. We refer to scrap paper, recycled into cardboard and shipped across the world transformed into a high valued material. Through principles of disappearance, disintegrations and assemblage I reflect on the value of meager materials, but also tells the underlying tale of industrial design concepts that denote great capital value. Under the focus of environmental concerns recycled materials can be valued as a means for sustainable practice that advocates for reuse and the concept of environmental limitations dictating future industrial smart design. I process corrugated cardboard, the ubiquitous signature for our globalized consumerism, into large-scale multilayered paintings. Through principles of disappearance, disintegrations, collage and assemblage I reflect on the value of meager paper materials. I share an underlying tale of environmental concerns embedded in tectonic activities that shape and change our landscapes over time and create a new geological Anthropocenic layer on top of all other strata. Relevant topics of Time, Use of Land and Myths depict concepts of polith-myth, heterotopia and experimental geography. Those are transformed into parables and metaphors of man’s intervention and metabolic regimes. There is an underscore of geo-political issues in the vast field of land-seizure, exploitation and migration that form a movement between material and metaphor into meaning issuing geopolitical issues deriving from deep time, history towards concerns of migration and immigration, loss of home and separation.
By mastering the art of “scoring,” German-born Artemis Herber has devised a way to manipulate her corrugated muse in any direction she desires. Through the process of folding and bending, cardboard is transformed and takes on a delicate body language.
Herber has exhibited widely throughout the United States and on an international scale in countries such as Germany, United Kingdom, Italy Spain and Portugal. Most recently she completed a public art installation at the Navy Pier in Washington DC, 2019 and a new cycle "Gaia Rise" at the American University Museum of the Katzen Art Center for the exhibition "Landscape in an Eroded Field", curated by Laura Roulet
Educated in Germany, she completed her studies in Fine Arts and Arts Education at the University of Paderborn, achieving scholarships and prizes. As a teacher, she received several awards for her projects in art and art education. As an art supervisor, she organized community and statewide advanced education workshops and exhibitions. Since moving to the United States in 2002, she has taught for nonprofit community arts organizations and private groups and currently maintains a studio in Baltimore. She served as president of the Washington Sculptors Group and member of the Royal British Society of Sculptors.
Highlights include American University Museum at the Katzen Art Center, Washington DC, Landscape in an Eroded Field, Kunstverein Paderborn Lost Spaces, Goethe-Institut Washington DC, Cardboard City, Spartanburg Art Museum (un)common space(s), San Jose Museum of Art This End Up, National Trust’s Newark Park, Cheltenham Museum, and Albright-Knox Gallery, Beyond Western New York. Solo exhibitions include Erratic Landscapes, MPA, Autochthon, Arlington Arts Center, Shifting Identities/Humanity in Nature, Montgomery College and Liminal States, Delaplaine Arts Center. Herber accomplished public art projects in Baltimore and Washington DC. She engages in International Cultural Relations with NRW KULTURsekretariat. As Transatlantic Cultural Projects curator Herber created Micro-Monuments, Center for Hellenic Studies of Harvard University, and Micro-Monuments II – Underground, International Arts&Artists at Hillyer. As former president of the Washington Sculptors Group Herber created concepts for Art in Nature and land-use projects. Her research upon the Anthropocene embedded in the field of polit-myth and experimental geography has been deepened through residencies at Rensing Center, theCoLAB, London, and Skopelos Foundation of Arts, Greece.
Public Art installations: Munich International Airport, Germany, Public Library Paderborn, Germany, Navy Pier Waterfront in Washington, DC, Patterson Park, Baltimore MD.
Herber is a prize recipient for The National Weather Biennale (Noman, OK) Best in Show Award winner and a Sondheim Semifinalist at MICA, First Prize Award by Maryland Federation of Art at MD Art@College Park MD , Paderborner Kunstpreis, Artist Award, Woldemar Winkler Award, and Dr. Sander-Wietfeld Promotion Award, Kunstverein Paderborn NRW, Germany. Since 2014 she has been granted Member of the Royal British Society of Sculptors.
Her work has been featured in various publications such as LandEscape Now!, Studio Visit Magazine, Art Ascent Art & Literature Journal, One Hundred Days by Contaminate, NYC and in an Artist Interview Series through the Linus Galleries in LA, and IRK Magazine.