Burkina Faso:
Ann Geirnaerdt attributes her present style of working with bronze to a three year stay in Burkina Faso (West Africa), where she was able to experiment full-time with the lost-wax casting technique using bronze.

Ann Geirnaerdt:
Each of my sculptures tells its own story, starting from personal experiences and emotions that I want to give the place they deserve. In this way, my works show, in a very rewarding way, strength but also vulnerability.

Themes:
Ann Geirnaerdt deals through her works with the themes of man who is constantly "searching", who needs closeness, security, but at the same time wants to maintain his own strength. The man who longs for a certain harmony and wants to live life to the full, sometimes vulnerable, sometimes strong, always looking for his cosy nest, which he also prefers to share with others.

Material:
What makes her work special is the inspiration coming from natural materials. In the construction of her works she regularly uses natural materials such as bark, branches, plants, and leaves, which inspire her enormously due to their movement and structure. These materials leave an imprint which she gratefully takes up and shapes.

B. Jane Cowie:
She has been working with glass for more than30 years. After gaining a degree in Visual Arts at Sydney College of the Arts, her commitment to art making, desire to learn and passion for glass inspired her to travel extensively.
She has worked in numerous glassmaking studios and factories in Australia, England, Europe, USA, China and Japan to develop technical skill and an intimate understanding of glassmaking techniques and applications.

South Australia:
B.Jane Cowie has played an important role in the development of contemporary craft in South Australia during the 1990’s, as Board Member of the JamFactory, CraftSouth and Board Member and President (1999-2021) of Ausglass: The Australian Association of Glass Artists. She has coordinated glass conferences, curated exhibitions, and taught in various educational facilities around the world.
In 2005 she was awarded a Master Degree of Visual Arts.

Singapore:
Most recently B.Jane Cowie has been contributing to the built environment of Singapore for over 10 years, installing art glass in numerous open air public situations.

Process:
B.Jane Cowie is designing, making and installing artworks and large-scale glass installations which are purpose built for private and commercial spaces
It means she now had to work with larger teams of project managers, makers and installers situated in Singapore.
Exhibitions :
More recently B.Jane Cowie has returned to a more personal exhibition practice through a series of Research Methodology Workshops and exhibitions in Mittagong, Perth and Canberra, and now 'The Enchanted Garden', her first exhibition in Belgium and Europe.

Carol Youngner:
I wish to express the influence that humans have on nature; to show the structure and constraints that we put on nature. It is often a necessity for our survival.


Subject:
Carol Youngner: 'My inspiration comes from seeing farmlands and vineyards and comparing them to natural unchanged landscapes. This is particularly easy to see from the air.'


Techniques:
Carol Youngner: 'I use float glass that I color, cut and assemble, using the justaposition of the pieces and the light shing through to show structure and movement. The crystal pieces are done with molds and show more direct landscapes, still it shows the structure we impose.'

Dorian Vanhorenbeeck:
He's well-versed in both hand-carving methods and digital creation using artificial intelligence (Al) and robotics. He emphasizes the evolution of the stone sculptor profession, incorporating innovative technologies as bridges to new possibilities.


Subject:
Dorian Vanhorenbeeck is a Belgian-Luxembourg designer sculptor who creates sculptures that are a mixture of classical art, robotics and a personal technique for a Pop-ART result.
(Ref. worldartdubai.com/Post.aspx?id=14714)


Vision:
Dorian Vanhorenbeeck's inspiration primarily stems from nature, plants, mythology, and fairy tales. The artist emphasizes the importance of being emotionally aware during the creative process, emphasizing the need to stay in the moment to capture the details accurately.

Ellen Rijsdorp:
Working and living in Delft, a city with a rich tradition in ceramics, not just Delft Blue! Having previously lived and worked in the Kruithuis, formerly a gunpowder depot built in 1660, she is now situated near the old town, and her workshop moved to Bacinol2, a centre for artists and small innovative companies.


Inspiration:
Ellen Rijsdorp's ceramic objects are inspired by natural structures such as sand dunes, ice crystals, wood, rocks and leaves. Structures she sees and finds at home and whilst travelling. Her objects have large increasingly convex surfaces, accentuated with small textured elements: highly structured and yet chaotic at the same time, always balanced and harmonized with her very refined surfaces and colours.


Technique:
A wheel-thrown shape provides the primary basis for Ellen Rijsdorp's objects. After a solid ceramics education in Gouda (1985-1991) - where the focus was on the ability to produce specific shapes of high quality - she embarked on the journey of developing her very own personal shapes, textures and style.
Her double-walled forms are understated. They look soft as velvet, asking to be touched.

Elya Yalonetski:
She's an award-winning Berlin-based artist who has been successfully working with ceramics for 20 years, combining her original traditional training from the Russian school of ceramics with Baroque and Renaissance elements in her sculptures and figurines. She has changed several countries of residence, but has always followed her own recognizable style.

Han Lammers:
What else can this mathematics offer us besides theorems, numbers and equations?
His rational designs translate mathematical equations into tangible three-dimensional images, mostly executed in zinc.

Subjects:
Han Lammers' geometric, abstract work is characterised by concrete and pure forms. In this sense, he feels akin to minimalism and constructivism.

Materials and techniques:
Because geometric forms form the basis of Han Lammers' work, sculptures are created in which any form of coincidence and thus surprise are ruled out in advance.
His work falls into solid, closed forms with a static character and more open and flowing forms with a dynamic (and sometimes lyrical) character.
The type of material used, patinated zinc, gives the sculpture an industrial yet refined look, with the greyish tones and subtle textures adding depth and character to the forms.

Hans Koenen:
Life's path along development projects mainly in Africa and Eastern Europe has left lasting and beloved marks.


Subject:
Hans Koenen creates sculptures of female figures in bronze or stone.
They have large openings to create transparency, dominate less and integrate into the environment. They express fragility, stimulate curiosity, perception and narrative.
For the bronze sculptures, he prefers to use shapes and structures from nature.

Hermien Buytendijk:
. The sculptures are often made from an evolving sketch but change during the creation of the sculpture. It is also possible that they are modelled after a word or a title. Also the naming is often the result of a game of question and answer with the sculpture. In this way, many crazy word combinations have arisen and the resulting sculptures are always different and unique.

Stripes of clays are used to create a hollow sculpture (stoneware or porcelain) They are kneaded together and dented. Often, Hermien Buytendijk is working simultaneously with several sculptures in different stages of development.
They are painted with colour slips and scratched in, then they are baked in the oven at 900 degrees. Then they are rubbed with dyes from metal powders and glazed and fired at a minimum of 1200 degrees. This is often followed by a firing at 800 degrees to burn off some gold.

Hermien Buytendijk for Gallery 'T':
Hermien artfully puts life into perspective with ceramic sculptures that subtly move between dream and reality.

Her sculptures often do something that is not quite possible, they seem to just escape reality but give a sharp impression of it. With humour and double meanings, she creates creatures that everyone will recognise with a smile. Human and animal figures merge with musical instruments and objects to original unique pieces and each object gets its own name.

The subjects are created from a fantasy taken from life, all different and surprising.
The sculptures are usually placed on wooden or stone pedestals which are decorated to match.
The work has the colours of the earth with here and there a touch of gold and graphic elements.

Isabelle Wallemacq's work can be summarised in Bernadette Gérard-Vroman's poem “Éclosion (Hatching)”, which was inspired by Isabelle Wallemacq's work “Éclosion (Hatching)”.

The work invites itself
To the Eden of my dreams
That I have been cultivating since birth
In an azurite nest.
Solid
I stand
Cross-legged.
The cosmos reflects back to me
The sigh of a comet
Vibrations of Stephen Sicard.
I welcome the light
Which gives birth
From the radiance of the chakras.
The seeds have sprouted,
The colours are exploding,
Fusion of soul and glass,
Creativity is fertile,
Fruit of a love :
A flower blooms
In this Enchanted Garden.
(Literal translation)

Tone Aanderaa:
Bits and pieces, old remnants, junk and beautiful scrap are found and welded together, haphazardly careless or carefully planned.
A new world evolves, new machines are invented, and then inhabited.

Fantastical, playful, filled with humour, and then there is this almost indescribable something, a sadness, a melancholy, certainly human.

All of which makes it Poetry.
And, as with most poetic artist, titles are important.

Jan Verschueren plays with the senses, and he plays with words in a most endearing way!

Jean-Luc Absil creates his sculptures in clay and wax and the casts are in bronze and resin.

Jean-Luc Absil has an eye for details. He looks constantly for the elegance, the emotion that the female body evokes by its restraint or by its provocation.
The natural sensuality of the woman he depicts leads the viewer to take a serene look at her nudity.

By magnifying, even deifying the woman, he creates the 'Femme Sacré'.
Jean-Luc Absil tries to immortalise the overall image of the Female Goddess.

Vision:
Lebuïn communicates through his work with the audience, which gets an insight into his ideas and opinion. Being an artist is not free obligation for him. Art for art's sake is not his concern. He is a committed artist with only one subject: the human being. (Gui Kestens)

Luc Clerinx:
Lebuïn D'Haese watches 'la comédie humaine' slightly ironically, deeply moved he watches 'humanity and its woes'. What he sees and how he sees these things is brought to life in his statues.
Always thinking visually, acting visually. Frugal forms, the omission of excessive details, and the suppression of subjective emotions steer the dramatic poignancy in these statues in the right direction.

Frank De Vos:
Always thinking visually, acting visually. Frugal forms, the omission of excessive details, and the suppression of subjective emotions steer the dramatic poignancy in these statues in the right direction.

The bronze women (?) sculptures of Loes Knoben show expression, movement and tension.

Loes Knoben is always looking for wood, branches and bark, weathered by wind and weather. In them she searches for strength, rhythm and balance. It starts a discovery voyage to new art works.
The used natural materials leave their mark on her sculptures. The wooden twigs become arms and legs.

The art of Loes Knoben reflects her view on life, her talent to observe people, fathom their feelings and translate them into beautiful expressive bronzes.

During - and after a career as a graphic designer and product developer, Marc Hadermann devoted himself to the visual arts. The last decade, he mainly worked as a glass artist.
He is inspired by nature and images in the world around him. Wandering around, he collects images, looking like an astonished child with strange perceptions.
Fascinated by 'light' and 'transparancy' he is giving the spectator an opportunity to observe the world through his eyes.
His art, paintings or glass installations, are always pure, without rules, honest, straight and with no compromises.

Marianne Barbier :
She devotes her time and talent to creating “funny little birds” in ceramic. She shapes them all by hand and colours them according to her inspiration of the moment ... which often makes them funny.

Des drôles d’oiseaux (Funny birds) :
Marianne Barbier's birds are artistic renditions of bird species that exist in Belgium: cranes, pigeons, owls, robins, ... But they are not faithful reproductions. She lets her imagination reinvent them. Many of her birds - she has bred more than 1,000 of them - have bold, vivid colours and eye-catching patterns, while others adopt softer tones, blending perfectly into the natural setting of a garden. This diversity reflects the richness of nature and the diversity of species that inhabit our gardens.

Technique :
Each bird is the result of a meticulous process. Marianne Barbier begins by modelling the clay with her fingers, taking care to capture the essence of each bird. She then fires the clay at a low temperature to solidify the shape. The next step is to paint the birds with coloured glazes before a second high-temperature firing, which fixes the colours and gives the ceramic its shiny appearance.
Low-temperature firing of her creations prevents the colours from 'melting' but makes the birds more fragile than when fired at high temperature. That's why the “funny birds” can't spend the winter in the garden.
Adaption des textes sur le site web de RTBF
www.rtbf.be/article/des-droles-de-zoiseaux-au-jardin-11426047

Marie Thys:
Having always had a passion for animals and their behavior, they became finally her favorite topic. The biggest part of her work is devoted to observing them and looking for their expressions, their movements, and their fragility.
Each of all her sculptures is realized using the technique she thinks is most appropriate for the animal, either wax, plaster, or clay. Then the piece is molded and cast by the process of lost wax, to finally end up with this noble material that is bronze.

Marije Gies:
I have always loved working with colours, and with glass because the interaction with light adds a whole new dimension, constantly changing and making the most beautiful atmospheres.

Works:
Marije Gies uses different techniques, such as stained glass, tiffany, glass fusing, slumping and casting.
Besides her own art, she does commissioned works, such as stained-glass windows, restoration, glass art and workshops.

Natalia Fernández Díaz-Cabal:
She's polyglot, translator, professor, (non-digital) nomad, international lecturer, entomologist of words, inveterate cultivator of curiosity, stubbornly self-taught visual artist.
She has been a poet since she was a child, before she had any memory or awareness of being a poet.
Ph.D. in Linguistics and Ph.D. in Philosophy of Science. She has given lectures, seminars, recitals and courses in many countries around the world. She has published books of poetry and essays.

Source: www.odyssey.pm/contributors/natalia-fernandez-diaz-cabal
Photo: www.lavozdelsur.es

Régine Dulière:
Her 'floral' or rather 'botanical' background has certainly helped her to sense balance, rhythm, volume and contrast, and to experiment with new materials and techniques.

The monumental sculptures:
Régine Dulière then went on to create some larger pieces, including the opportunity to design and oversee the creation of a new altar for the chapel at Mont-Godinne hospital. The chaplain wanted to include a sculpture with a message, inspired by a poem by Henry Moore.

Corten steel:
As part of her floral art workshops, Régine Dulière approached an ironsmith who was open to her projects and fantasies. By taking this project a step further and working together, they were able to create large metal sculptures, first in painted perforated steel, then in Corten steel, requiring no treatment.

The Snail

The artistic creations of Roland Menten show always a humorous note that is often in contradiction or gives an unexpected view on our stressed and perfectionist society. He builds up an entire oeuvre on and around snails, frogs, leaves, mushrooms, ... In short, nature. In his work, he gives snails a place of honour.

The beauty of Roland Menten's works is that they grow along with nature.

On the one hand, through the use of polished and rough surfaces, the lichens become spectators and at the same time they take a part in the story told by the artwork.

On the other hand, through the alternating use of colours, the works conquer their place in nature, which softens their dominance by incorporating the sculpture into the life of the vegetation.

The works of art by Roland Menten feel at home both in a modern design and in a classical interior, in an austere French garden as well as in natural vegetation, but they always elicit a smile :-)

Subjects:
Sculptures made of recycled materials, inspired by his African roots. They show a humorous take on our daily lives. Many of his works come into their own both indoors in winter and in the garden during summer.

Stanwood Wind Sculptures:
They are the highest quality kinetic sculptures available on the art market. All the wind sculptures are beautifully designed, meticulously crafted. They only use copper and brass as building materials. All spinners are finely balanced and will spin with the slightest breeze. All our wind sculptures are covered by a lifetime warranty.

Lifetime warranty:
The Stanwood products are fully warranted to the original owner against defects in materials and workmanship. If a Stanwood product fails due to a manufacturing defect Stanwood will repair or replace the product free of charge, at our discretion (transportation costs not included).
This lifetime warranty does not cover damage caused by accident, improper use or installation, negligence, normal wear and tear, or the natural breakdown of materials over time.

Stanwood also provide easy to replace spare parts, e.g. the stainless steel ball bearings.

Art Sanctuary will support you in the communication with Stanwood.

Installation:
All artworks include a full installation manual. It can also downloaded by the Art Sanctuary website. There're also videos explaining the installation.
Art Sanctuary can help you to install the wind sculpture at your home for a fixed price depending on the wind sculpture.

Luc Schreiden (adapted):
The originality of the works of Toni Kanwa Adikusumah lies in the alliance between the primitive arts and contemporary art, between the depth of the East and the creative freedom of the West. The synthesis he achieves sublimates dualities.

Influences:
Toni Kanwa Adikusumah was born in Java, Indonesia. The first part of his life he was immersed in the heart of several indigenous tribes where culture and ritual arts were still a matter of life and a necessity for humans. His knowledge of ancestral techniques and his spiritual roots are exceptional. As a graduate of the Bandung Institute of Technology, he was for more than fifteen years an expert in tribal art for Sotheby's and Christie's in Jakarta and Bali.

Recently:
Since the 2000s, Toni Kanwa Adikusumah has been travelling the world, notably allowing himself to be touched by the influences of the European art scene.
The artist presents at ‘The Enchanted Garden’ a series of wooden sculptures and bronze creations revealing the flow of vital energy resulting from his unusual path and the duality between East and West.

Will Schropp:
Lines, groves, the ribbing and the character of the wood play a big part in my sculptures. Wood has a lot of possibilities, but even more impossibilities, between them I create my sculptures.

'Life' and the eternal dream of 'Flying' are subjects of my sculptures. When I carve I am conscious of the nature, I see my work as a synthesis between design and nature. I finish my sculptures in such a way that people are prompted to touch them. Wood shows history and trees played a role in mythology. If possible I use those elements.

Garry Kvistad:
As a music student in the 1970s, Woodstock Chimes' founder, Garry Kvistad, became fascinated by ancient scales that could not be played on modern instruments, so he decided to build a metallophone (a xylophone-like instrument with metal bars) on which he could play the ancient scale of Olympos, a Greek flute player from the 7th century B.C.. Being an ecologically minded recent college graduate on a tight budget, Garry found the materials for his metallophone at a landfill, it was made from the aluminum tubes of a discarded lawn chair! Garry's metallophone experiment was so successful, he had the idea to cut and tune aluminum tubes to create windchimes, and Woodstock Chimes was born!

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