GISELA FALCONE VAN VECKHOVEN

I was first introduced to sculpture while attending art school in Stockholm, where the training was rooted in a classical approach - observing and accurately reproducing reality. I never felt particularly connected to that way of working.

A few years later, at twenty-four, I studied marble carving and fell in love with the possibility of speaking through 3d dimensional form. I made my first marble sculpture there, and ever since, I have been waiting for the space and time to return.

In the years that followed, I continued my studies in contemporary and conceptual art, developing a practice centered around ideas, intuition, and meaning. Today, these parts of my artistic path are finally coming together.

For a long time, the dream of creating large-scale works in marble held me back - it felt too monumental to begin. Eventually, I decided to start with other materials and simply get moving. Over the past few months, I have been teaching myself how to create large-scale sculptures in a limestone mix.

Each sculpture begins with automatic drawing. I enter a quiet meditative, receptive state and allow forms to emerge intuitively. I then interpret the drawings in three dimensions, translating lines into physical mass.

The result is a series of 150-190-centimeter-tall totemic forms - archetypal presences that attempt to give shape to the invisible.

After countless experiments, failed attempts, and a steep learning curve, I am so happy to have completed this first stage.

Now, the next chapter begins: translating these forms into marble and bronze, and allowing them to find their truest voice. Follow along.
#ContemporarySculpture #AbstractSculpture #SculptureArtist #ArtistProcess #AutomaticDrawing ConceptualArt TotemicForms WomenInSculpture