About the exhibition
With the exhibition Beate Debus - Form and Figure, DIE GALERIE presents a new selection of works by the German sculptress from various creative periods and thus illustrates the development of her formal language from figuration to abstraction. Throughout the years, only one thing has remained constant in Beate Debus' (*1957) oeuvre: her deep fascination for the human figure. While the anthropomorphic forms are clearly discernible in her early works, a radical stylistic turn soon takes place and the sometimes bulky, stocky limbs of the resting figures are transformed into abstracting, more delicate lines of extraordinary dynamism, extending into the space with their dancing motions. Yet just as our brain is capable of reading a familiar word out of a chaotic mixture of letters, so is our eye, despite the process of abstraction, able to perceive the human shapes hidden inside Debus' plastics. A broad spectrum of human feelings is evoked by these faceless and yet in their gestures so highly expressive sculptures, allowing an emotional connection between the viewer and the artwork: By depicting the human body, the artist also reveals its very soul.
Visit our Online-Exhibition with a exhibition opening film, with a introduction by Peter Femfert, DIE GALERIE and a speech by Prof. Dr. Kai Uwe Schierz, Kunstmuseen und Kunsthalle Erfurt, as well as a virtual 3D-Tour through the exhibition.
Watch our exhibition opening film!
Visit our virtual 3D-exhibition!
How to walk through the 3D presentation
You can easily control the 3D tour with yout mouse on your PC. Orientate yourself by the white, round circles on the floor and click on them to move around. In the same way you can move along the wall to look left and right or up and down. At each work there is a filled in small white circle, click on it and you will get information about the work.
We have also started a new podcast series on this exhibition. Learn interesting facts about the exhibition, the artworks and the artist in the new episodes.
The material of the sculptures of Beate Debus always stays recognizable. The wood defines the character of the shaping, through the structure of the wood, which she simply darkens with a gas burner or slurries with chalk. This can be found in the sculpture Gegeneinander, which was cut out of a piece of wood, very well visualized. The surface texture varies between smooth and rough. The form consists of a grid-like line structure. The fact that this is a dynamic motif of movement, however, is emphasized both by the title and by the striking light-dark contrast, which divides the sculpture into two elements. In principle, all the ideas of movement embodied in Debus' sculptures can be read directly from linear references to direction, from proportions of size and from the proportions of surfaces and masses in relation to one another. Despite the title Gegeneinander, a harmony of the sculpture can be recognized, the active light element leaning on the passive black element. One element could not stand alone without the other. There is a tension-filled, dialogical interrelation of the individual partial forms, which in turn forms a unity.