We are delighted to present, Helga Hohn-Heiberg, A Retrospective,  April  14 – May 24, 2013.  Helga was awarded Best In Show in the Annual Member Show in 2012, and receives this show opportunity compliments of the arts council.  An opening reception was held Sunday, April 14, which also is Helga’s Birthday.  Stop in and see this expressive show, with 58 works in the exhibit, executed in sculpture, graphics, painting and fabric mediums.

Opening Reception
Sunday, April 14, 2:00pm to 4pmWednesday, September 5, 2012, 5:30 to 7:00pm
Exhibit Dates
April 14 – May 24, 2013
Gallery Hours
Monday – Friday, 9am to 5pm

About the Artist

Helga at the Opening (and Birthday) Reception

HELGA HOHN-HEIBERG is an artist from Germany, and 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 was born in 1950 in Oberfranken, Germany and chose painting very early. Supported by her father, an artist also, she was painting by the age of 7 and experienced creating in fiber with mothers guidance very soon after.She studied theoretical and applied painting, graphics and sculpture in Dortmund; philosophy, psychology, pedagogy, art history and artistic methods at the Free University in Berlin; and at the Technical University Aachen where she studied artistic methods, philosophy and psychology .Teaching positions in high schools and youth and adult education programs followed: she spent time in Paris and Madrid, prepared in special classes graduating students for final examinations at art academies and works through projects for the state examinations with the art students. In addition, she worked as an art critic for the press.Through her father’s strict influence and study she has mastered an uncommonly large array of techniques and forms of expression, from naturalistic drawings in pastel and charcoals, to abstract presentations of themes and dialogues in water colors, oils, silk paintings, fiber art, ceramics and glass, murals and sculptures in a variety of materials.

Her works are known and loved in artistic circles, as her numerous exhibitions 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 Wuerttemberg State government in Stuttgart. One can find her works not in the Federal republic alone, but also in Argentina, the USA, Portugal, France, Greece, Spain, Turkey, Israel, Tunisia , Togo, Belgium and the Netherlands. In Holon, Israel, one of her Watercolor’s 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 reviewed in news articles, art journals and art dictionaries.

Helga has also taught at the University of Maryland in College Park, MD, and Lord Fairfax Community College in Middletown, Virginia

Helga says of her own art that “art substitutes itself for that which man cannot or can no longer see “face to face”, it provokes if it presents us, as it lacks the legitimizing of resonation. Our present must be laid wide open.”

Therefore, she does not make it easy for the visitors and viewers of her works. The works are not all in the foreground and do not spring directly into the eyes. They do not wish to be looked at but force the viewer to work through the images. The works do not unlock themselves; they require interpretation and dialogues. Each work is to be described as a completed poetry. The free-standing art of presentation by which a great personality is identified is best described as conscious of its directions and ahead of its time. To accomplish her enormous vocabulary, her shapes, colors and connections, and to let them fly again, is the creation of an expanse of immeasurable thoughts.

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 order to recognize their symbolism. Only then can one read the objective less art, only if one sinks into the forms of the colors and is taken up by them.

Helga Hohn-Heiberg’s works create space for different interpretations. This is her art and her ability; to allow emotions to matter from different positions, to introduce them and to permit them to be recognized as a unified symbol.

At first glance, one notice 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 are the complement voice. The eternally entangled objectivity of the world, which has no more spiritual anchor in “the other world” must now be expressed in terms of this world. They challenge us to consider and to contemplate.

The universal principle is the abstract unity.