Artist from Germany, has been living in the United States since 1987, having initially arrived under the sponsorship of the Sudeten German Society which awarded her the “Kultureller Foerderprize” for Fine Arts in 1983.
She studied theoretical and applied painting, graphics and sculpture in Dortmund; philosophy, psychology, pedagogy, art history and artistic methods at the Freie University in Berlin and Technical University in Aachen. Teaching positions in High schools and youth and adult education programs followed. She studied and worked in Madrid and Paris. In special classes and through projects she prepared graduating students for final art examinations and entry examinations for art academies. In addition she worked as an art critic for the press.
Through her study and her father’s influence she has mastered an uncommonly large array of techniques and forms of expression. These include naturalistic drawings in pastel and charcoals; abstract presentations of themes and dialogues in water colors, oils, silk paintings, fiber art, ceramics, stone and glass: and murals and sculptures in a variety of materials.
Her works are known and loved in artistic circles, as her 81 solo exhibitions and numerous group shows and awards at home and abroad can attest.
Her works are among those in the cultural collections of the Interior Ministry in Bonn and Baden Wuertemberg State Government in Stuttgart. One can find her works not in the Federal republic alone, but also in 13 different countries. In Holon, Israel, one of her Watercolors entitled “Cooperation-Germany-Israel” hangs in the Youth Education Center as a gift of the German Government. She has also done book illustrations, and since 1969 has been consistently in newspapers and art journals.
In 1987 she exhibited at the German Embassy in Washington DC under the sponsorship of the International Music society. She has been a member of the Selection Committee of the World Bank Art Society and has works at the Museum of Women in the Arts, also in Washington DC.
Helga Hohn-Heiberg has also taught at the University of Maryland in College Park, MD and Lord Fairfax Community College in Middletown, Virginia.
Helga Hohn-Heiberg says of her art that art substitutes itself for that which men cannot or can no longer see face to face, its presentation provokes us. Our present must be laid wide open.
The creative process begins with what is to me an important experience. The experience fosters thoughts and emotions which are necessary for the dialogue in this creation.
Therefore, she does not make it easy for visitors and viewers of her works. The works are not all in the foreground and do not spring directly into the eyes; instead they force the viewer to work through the images. Helga Hohn-Heiberg’s works do not unlock themselves; they require interpretation and dialogues. Each work is to be described as a complete poetry. Her enormous vocabulary, of shapes, colors and connections, is the creation of an expanse of immeasurable thoughts. But how can the observer gain entry to these works? First, one must simply look at the works in order to understand them better; one must let the colors, the ever-questioning, spiraling round forms, work in oneself, in order to recognize their symbolism. Only then can one read the subjective art. It sinks into the forms of colors and is taken up by them.
The symbolism of Helga Hohn-Heiberg’s works creates space for different interpretations within the dialogues; this is her art and her ability, to allow emotions to matter. At first glance, one notices a certain inconsistency and lack of cohesion; there is no easy approach or immediate recognition that would connect and put into familiar terms these things we see. As tenuous as the connection between line and color is the complement voice.
Her art challenges us to consider and to contemplate. The universal principle is the abstract unity.
GRAPHIC DIMENSION “
refers to the structure of all spaces and its position in time, as well as the spatial constitution of objects within.
The configuration of abstract spaces is identified through points and structure within its relationship of axes, lines, objects in a rhythmical pattern and its linear organization.
The use of color enhances the sense of space and adds another dimension.
It’s a different approach to art and is not restricted by expectations. Rather it is an open-eye-meditation inspiring expression for the viewer.
HELGA HOHN-HEIBERG , 2011