1 adhesive (cfr. sticker verso) kitchen hotplate, with yellow motif. Silkscreen-printing on cellular rubber, verso adhesive film layer. Total frame 28 x 28 cm x 0.8 cm , cut out hotplate diameter 24 cm (x 0.8 cm) Hand signed and numbered in felt pen on yellow label (recto on outer frame).
This striking multiple by Rosemarie Trockel transforms an ordinary adhesive kitchen hotplate into a charged conceptual object. The circular form, rendered in bright yellow silkscreen on cellular rubber, evokes the domestic hob motif central to Trockel’s investigation of gender, craft, and the politics of the everyday. Part of an edition of fifty in yellow, the work bridges Pop sensibility and feminist critique, inviting the viewer to reconsider the boundary between art and utilitarian design. Hand-signed and numbered, it remains a quintessential example of Trockel’s subversive wit and material intelligence.
Rosemarie Trockel (Germany, 1952) is a German conceptual artist known for her diverse body of work, including drawings, paintings, sculptures, videos, and installations. She gained prominence in the 1980s with her machine-knitted wool paintings that challenged traditional art forms and gender roles. Trockel's innovative approach often critiques societal norms and explores the intersection of art and feminism.
Mixed MediaMixed media refers to artwork that incorporates more than one medium within a single piece. Unlike multimedia art, which combines distinct forms of visual art and often includes elements like sound, video, or digital media, mixed media focuses on combining traditional art materials, such as paint, ink, and collage. Mixed media art allows artists to achieve a wide range of effects and textures by layering and blending different materials.
1 adhesive (cfr. sticker verso) kitchen hotplate, with yellow motif. Silkscreen-printing on cellular rubber, verso adhesive film layer. Total frame 28 x 28 cm x 0.8 cm , cut out hotplate diameter 24 cm (x 0.8 cm) Hand signed and numbered in felt pen on yellow label (recto on outer frame).
This striking multiple by Rosemarie Trockel transforms an ordinary adhesive kitchen hotplate into a charged conceptual object. The circular form, rendered in bright yellow silkscreen on cellular rubber, evokes the domestic hob motif central to Trockel’s investigation of gender, craft, and the politics of the everyday. Part of an edition of fifty in yellow, the work bridges Pop sensibility and feminist critique, inviting the viewer to reconsider the boundary between art and utilitarian design. Hand-signed and numbered, it remains a quintessential example of Trockel’s subversive wit and material intelligence.
Rosemarie Trockel (Germany, 1952) is a German conceptual artist known for her diverse body of work, including drawings, paintings, sculptures, videos, and installations. She gained prominence in the 1980s with her machine-knitted wool paintings that challenged traditional art forms and gender roles. Trockel's innovative approach often critiques societal norms and explores the intersection of art and feminism.
The minute something works, it ceases to be interesting. As soon as you have spelled something out, you should set it aside.
- Rosemarie Trockel
Rosemarie Trockel an artist from Germany who started her studies in 1974 at the Werkkunstschule in Cologne and found the Muelheimer Freiheit in the early 1980s. This was a group of painters in Cologne - predominantly male - but she emerged as an advocate of feminist issues, questioning the traditional hierarchies in society and in aesthetics. One material that Rosemarie Trockel uses most commonly materials is wool, which she started using during the 1980s to put together what she calls "knitting pictures," which are lengths of material that have been stretched to fit on frames, and patterned with geometrical shapes or publicly recognizable logos. One of her best known wool series isI See Darkness (2011), in which black yarn stretches over white perspex in vertical lines. Another favorite genre of hers is mixed media, such as Painting Machine and 56 BrushStrokes (1990), which incorporates steel rolls and wires. The brushes make marks on a paper roll, and they have been made from human hair and feature the names of the donors of the hair. Since the early 1990s, she has worked primarily in video.
Abstract art uses form, shape, line, and color to create a visual experience without attempting to represent external reality. The composition exists independently of the world's visual references, focusing on expressing ideas and emotions through non-representational means.