Two artists and the significance of the animal
STEGLITZ . What significance for many of us , the question of the significance of the animal showed the filled to the last seat Gutshaus Steglitz last Saturday . The call at the opening of Torsten H. Kluckert and POGO they were followed , and what they saw , and probably should reverberate in them and be food for thought , to give the value of the animal in our society a respectful dimension can...
You can find the full article in the below PDF page 7.
POGO - An artist's special "art"
The Cap daringly slanted face, wiry and vital he asks me with a winning smile to his " inner sanctum . I feel immediately - the chemistry is right . Then I sit on the roofs of Berlin in the sunny studio of artist Wilmersdorfer POGO on a simple folding chair . I look around and leave , his pictures to me that a large area on the walls . Outside on the terrace parapet is symbolic , a blue penguin of considerable height , 97 cm it measures , I find . It is one of the objects of POGO 's workshop . Later POGO is me explain the meaning of these penguins...
You can find the full article in the below PDF page 3.
2011 the Berlin artist POGO creates is 1000th painting
"Few painters dare approach the subject of animal welfare , want not even represent a cow next to a nuclear power plant . The artist POGO continues. In the visualization of topics , such as animals of the violence of man showing his painting the connections and transports the backgrounds our dealings with animals on ways of art ."
Over decades the artist POGO creates moving art
"From the bright blue out of stone made penguin guests are already welcomed from a distance. The climate penguin is a symbol of sustainability and calls for careful handling of our world . Four decades the artist POGO is working for their preservation , for ethics in dealing with our fellow creatures , the animals and humans. His art is socially oriented and thus builds movements artistically-social movements that put utopia in perspective "
Animals in the painting are usually found where humans they have stationed in real life: on the outskirts , in the background or on the plate . Sheep or cattle herds are part of romantic landscapes , pheasants beautiful but dead components of still life . Wonderfully painted horses form the base for superscript or dislocate decoratively in battles ; Doggie in rococo interiors , curled up cats in the farm kitchen fill empty corners . Generations of painters have chosen animals as prey and pack of hunting parties to the subject and identified themselves with the perspective of the hunter.
A special trick that visibly represent existing as non - existing , is to deprive them as symbols of human ideas of her own self , so preferably in a religious context.
No, the artists of the Western tradition have not breached our perception barriers . They have almost invariably seen only the external appearance of the animals , a shell around no core . It was probably only Franz Marc , who has the animals returned the soul which took the church fathers more than fifteen hundred years away from them. In this brief historical moment and when Rilke too the despair of the Panthers in the zoo themed , Nietzsche and Dostoevsky identified with the suffering of the animals , there are almost all the big names from the art and culture in the calls against the incipient vivisection . The First World War , in which Franz Marc has fallen , marks the end of a beginning . Hecatombs of human victims have obscures the animals again . Until the recent years.
And today , where even the sparrows the desecration and destruction of the earth from the roofs and the rats can not even leave the sinking ship , the view of human remains away in narrow-minded self-pity of his principal victims. Merciless than ever he sends them forward into the abyss.
POGO looks away not from . He can not do it. The Stations of the horse, that's happened to him at an early age have a shock effect , which has broken through the barrier of anthropocentrism . The animals are mo more objects . He does not see them from the outside . Their sorrow is his sorrow . The defense , which generate his pictures often , is the defense of the offender to his victim which he does not want to look in the eye.
If POGO moves the animals from the periphery to the center, he upsets the viewing habits as well as the human world order . Still and stubbornly he refuses to accept the relativity that also people suffer . it is assumed to be known. POGO is one of those who only paint what they have to paint . What compels him and drives are the victims , the pariah of the human race . The perpetrators are anonymous - a hand , a tie , a faceless monster in protective suit . But those who has hidden from his perception that monster , it is they who look at us . The battered bodies have eyes . " Slaughter " is no longer anonymous, it is the cow who looks at you . The gorilla in the penitentiary Zoo , the dolphin in the net , the rat in the experiment , they have eyes, look at you.
As an artist POGO gives the animals the expression means of our time . Also far from sentimentality as of petrified insensibility. He designed with cold acrylic , with seemingly photorealistic accuracy with perfect technique his paintings , in which the animals are the focus, alienated in the den of thieves , which was the world again.