Excerpts of a text of Rippel-Manß about Sandra Silbernagel

The sculptures by Sandra Silbernagel only once silent, timeless, without the visible presence of reference. We see rock formations, which are deemed to have someone in a rough machined surface pushed in a foreign body, a smooth ground formations. Here it is a pyramid, there is a cube, a cube, or a long Steles form.

It is tempting to contrast the work with couples to capture. They are matte and glossy, static and dynamic, rough and smooth. Although the surfaces are described, one has the feeling, even properties of the stone to the latter.

For the modern sculpture is one of the important topics the material with which to work. Only in the 20th Century has developed the idea that sculpture, with its artistic design directly onto the material with its possibilities and limitations react.

Sandra Silbernagel is with her artistic approach to this tradition.

It explores the possibilities of stone material and goes its own subjective way. They handled the stones so that they are still their original form as possible. The artist brings the material is not in the studio, she goes out into nature, into the silence of a remote quarry in France. She has no where artists exchange, no change, she is there alone. Who it works, it is huge and the nature, the ancient testimony of past geological eras round, endure.

The stones, since their encounter, they are not material with which it implements a form of idea. They discovered a lot more in the pre reversed the idea of artistic prejudice, to the characteristic, the Treasury of the stone to explore. She draws him to structuring lines, where they interfere with the tool wants to decide where the mineral crust of the stone leaves, where a geometric shape can work out the raw form, so to speak, is under. The question of the "cutting" of the stone and the "Construct" will work in such a special meaning: The geometric formations that they peel out, provoke the appearance of the stone consists of several parts. But he remains a whole.

The artist defines deep cuts, which a boundary line from the layout to leave mark. Through erosion, it forms within the geometric forms that seem out of the stone inside to grow. The geometric shapes they are supplemented by fine grinding an entirely new character. The stone included traces the emergence, veins and inclusions, to appear, the light reflective surfaces are smoothed to a deep and mysterious splendor.

The average of a spatial form shows around the use of force, the artist dealt with heavy machinery. Nevertheless, creating a kind of cuts meditative act, it is an interplay of response and projection, of artistic self-concept and correspondence shaped by the nature. The natural shape of the stone, which he includes in plasticity, structure, beauty and dynamism, it is necessary to recognize and read and talk to the market. The stone is no longer material, he is like medium.

Sandra Silbernagel gives us with its stone-work some of their respect for one's own life and the beauty of the stone. If we indeed try such things at the level of non-rational is to formulate, brings us into the difficulty that we will really have no notion. It is a question because - and this is an emotional approach - in the language of - lifeless - nature to hear and to respond. We hurried and rationally oriented contemporaries is always an exciting approach. The artworks convey, despite their small format, much of the archaic power of nature.