Almuth Tebbenhoff

I split my working time between steel and marble.

Breakthrough cubes came about as an endeavour to make an incredibly fragile piece which would show off the beauty of the marble. I left the block as a framework to hold the marble ‘membrane’. I used a particular Portuguese Pink marble which has a bit of pink veining but is otherwise quite white.

Horizon Splitting is made from chopped up and welded together angle iron, something I have been doing for ages, twenty-five years and more.

www.tebbenhoff.org

NEWS

ENERGY MADE VISIBLE
Exhibition of steel, marble and ceramic sculptures by Almuth Tebbenhoff LG. There will be six large steel sculptures and a couple of marble pieces plus a few smaller ceramics. Tebbenhoff is currently restoring the sculptures with Ben Wood the blacksmith who has a metal fabrication workshop in The Old Ambulance Station in Bexhill.

The Opening is on 15 April, 5-8pm
London Group members are very welcome. RSVP 2025secretgardenkemptownmjw@gmail.com is essential.

Fri 18th April – Sun 1st June, 11.00am–5.00pm. Admission free. 
The Secret Garden Kemp Town, Bristol Gardens, Brighton BN2 5JE

 

“Almuth Tebbenhoff” by Almuth Tebbenhoff and Amy Dempsey.
Tebbenhoff’s monograph is being published on 15th May. Visit the Unicorn Publishing website to pre-order.

 

Description: ‘It seems that making art is chasing after an elusive dream of perfection that sits somewhere in my head. It will not go away, even after fifty years of trying. After all this time, the process of holding materials, cutting, crushing, cradling or just placing them violently or tenderly, is what it’s about. Every action is a stream of discovery of something that hasn’t existed before – it’s a miracle and a bloody disaster. And so every sculpture leads to the next piece in the great puzzle. Much of this work is initiated in the subconscious. The different processes connect me with something physical or metaphysical that needs to be understood. In this way I discovered and dealt with past trauma. Things that didn’t make sense but once transposed into clay became obvious. In this way personal experiences were opened out into universal experiences.’

 

 

 

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