The series used in the installation, "The vase got a flower." is a sculpture project in which I combine prefabricated porcelain, previously owned by someone, with my own forms. The color "blue" is seen as the color of sea or sky, which make up most of the earth. But the definition of the color "blue" is ambiguous and unreal. I invite visitors to enter this ambiguous beautiful world of the color "blue".

Japanese artist Ayaka Terajima (*1987) studied traditional crafts and ceramic techniques at Japanese University and has been studying and working in Munich since 2016. For her, clay is the most primitive material to directly give form to her thoughts. Through her work, she raises questions about primitive and philosophical issues, such as problems of everyday life, body and mind.

https://ayakanomura-potter.jimdo.com

As an artist and florist, Yukari Miyashita enjoys working with natural materials, stripping down to the essentials. Her floral artworks are naturally often quickly ephemeral, so don't miss these brief moments for the eyes and soul.

She likes to combine elements from her native Japan in her works, but nature with its variety of colors, structures and mysterious forms always plays the main role.

Yukari Miyashita (*1983) studied art and Japanese painting in Kyoto, Japan. Already there she acquired the license for Ikebena and worked as a designer of kimonos with floral motifs. Today she lives in Munich and Prague, combines art and nature in her own personal way.
More artworks on http://www.instagram.com/kunstundblumen_fl

"Wolfgang Steck's unusual perspective on the world was imparted to him at a young age by his godfather in a kind of key experience, when he advised him not to sit on a park bench, but to look underneath it and take photographs from there. All at once the world seemed changed and its fascination within reach. Delving into a motif, getting close to it, changing the scale, shifting one's own frame of reference, all this characterized his early representational works and prepared his way into abstraction. ... By obscuring an object, another clarity, another reality can emerge." (Brigitte Seidel).

The familiar, often inconspicuous - here two wind chimes - is staged by light and color or by unusual perspective up to complete abstraction. It achieves new meaning.

[Light and color play of staged moment, known unknown, unknown known, fullness of time Now].

Wolfgang Steck (*1964) has lived in Hohenschäftlarn near Munich since 1997. He is spokesman for the Schäftlarn artists and organizer of the Schäftlarn Studio Days. More information on http://www.arte-fotografica-ws.com/

The works of Anja Columbres are visual poems that send the viewer on a surreal journey between reality and dream world.

Flora & fauna, human anatomy and cloud worlds mix like fragments of reality between geometric shapes & false colors, creating a weightless poetry that feels at once painfully familiar and relievingly strange. Desires and fears of our existence are inextricably interwoven in all works, draw in their unity a path in the border area between light and shadow and thus hold up the mirror to life itself.

Anja Columbres (*1989) has lived in Vienna and Berlin in recent years and has been in Munich since 2017. She has established her personal as well as artistic roots worldwide, always keeping her head in the clouds.

More information on http://www.anjacolumbres.de

Whether nature scene or abstract composition, the works of Stephanie Syring catch the eye with their variety of ligree, sometimes transparent-looking structures. For this she experiments with different artistic techniques. The works to be seen here were created predominantly in the printing process. Already in her studies of art education and as an artistic assistant in a screen printing workshop, the occupation with the creative potential of printing techniques was in the foreground.

The motifs are partly inspired by classical Japanese woodblock prints. They include both stylized scenes of nature and abstract compositions that invite the viewer to immerse themselves in their respective structural form. Therefore - step closer!

The idea of playing with the nature of colors, trying them out, testing their range, is inspiring. At the same time, art reflects the colors of nature, its infinite abundance of nuances, contrasts and plays of light. This causes a wealth of variations, both in nature itself and in art, which is virtually limitless, and can be captured by the individual only in small sections.

Viola Jasmine Provost, self-taught, born in Bavaria in 1999 with Canadian roots, was already fascinated by works of art as a little girl. Today, the newcomer gives free rein to the imagination itself with her abstract forms, structures and different techniques simultaneously give her creations a framework, suggesting the most diverse moods and atmospheres.

More information on their site www.facebook.com/www.provostudio.de

From the first steps of humanity to existential questions - hidden deep beneath our roots and mental patterns lies the feeling of being part of a great whole. This intuition is anchored in our primordial ground and in view of this, laws, dogmas, simply everything become superfluous.

Our exterior forces us to look inside ourselves at such times. Let us return to the time when evolution snatched intuition from us.

María Eugenia Piacentini Veron, self-taught, born in Buenos Aires in 1981 is always looking for a window on the world to send her messages to the subconscious. Ceramics comes to her in a spontaneous, detailed and faithful way, allowing her work to emerge in a flow. With her clear focus on realism and form, she inspires her audience. Empathies are created and destroyed in her work. www.eugenia-piacentini.prosite.com/

Apophenic painting uses optical pareidolia. It describes the gestalt vision in structures and objects.

rosaLee uses experimental techniques and different materials to obtain random structures in which she discovers the protagonists of her stories and elaborates situations. This search for meaning in randomly generated patterns is called apophesia.

The installation in the sansaro artbox documents the process of creation of the exhibited canvases and thus provides impressions of the artist's work. Apophenic painting invites a dialogue with the viewer, for which the accompanying texts provide food for thought.

More information on www.rosaLee.de.

By the colored reflection we have life.

The varnish paint closes the fruit airtight. The organic surface disappears under the inorganic, thus protected from decay, but unable to breathe further.

Christian Bräuer born in 1967 in Munich is a stylist and freelance artist. In addition to annual photo series from different countries of the world, installations arise in the further development of photographic-creative activity.

Dream images in which figurative and abstract elements are mixed - based on different themes. The focus is on the motif with its strong symbolic power. Existing from a new, unexpected angle to bring the viewer closer and to look behind the expected is the goal of the artist.

More info on www.christian-bräuer.de

"The painting is a bridge that connects the mind of the painter with that of the viewer." Eugène Lacroix

The images of Helga Kallweit are always echoes of real objects, but still non-representational and leave room for interpretation. The artist thus enriches and fathoms the individual imagination and imagination of the individual viewer.
Helga Kallweit studied art education and has lived and worked in the Munich area for over fifteen years.

The artist uses a sand hybrid technique with oil and acrylic paints. In a lengthy process, paint and sand are applied in many layers and ever new variations to give the paintings the desired structure and influence the color effect.

More information on: http://sandvisionen.jimdo.com/

Origami is one of the unique Japanese arts. There are almost infinite possibilities of paper folding. In this installation, it is expressed with Miurafach. Tertiary surfaces are possible and are represented with paper. Through waves of paper and shape called quilling, it expresses the natural feeling of spring and summer. Ami Naito (born 1989 in Tokyo) is an interior designer. She is a graduate of Musashinio University. In 2011 she founded "Appaloosa" and since 2012 she has been working in Munich. In her works, she draws inspiration from nature. The unique Japanese colors, materials and techniques are a constant source of new ideas for her. Her design aims to create the fusion of Asia and Europe.

http://aminaitodesign.wix.com/appaloosa

Fabian Bross is a linguist and freelance artist. He is co-founder of the literary magazine "Das Prinzip der sparsamsten Erklärung" and the exhibition space "Linoleum-Club" in Munich-Neuhausen. The Süddeutsche Zeitung (Dec. 31, 2013) counts him among the young creatives who make Munich "more colorful and livable" and "an exciting city."

His works deal with the tension between individual realization and social norms. What at first glance might not seem to fit together is interwoven in such a way that a harmonious and completely new image emerges. In this way, many of the works succeed in breaking through entrenched patterns of perception and association through an unusual, combinatorial view of everyday life.

With this intention, the Prometheus depicted here, who comes from an oil painting by the Spanish-born painter Jusepe de Ribera (1591-1652), and a streetcar ride through Munich at night were aesthetically integrated, so that the Greek-mythological cultural founder seems almost ghostly. The painting titled "Prometheus in the Tram" (2013) thus symbolizes the ever topical debate about the balance between individual will and collective ought, between drive and norm, between I and we.

i am looking at the beautiful fence with crimson-black spikes, inside of which are grapes with spotted spikes and velvet-feathered, inclined ferns and fluffy tufts, water-green and round.

[from stefan george's the book of hanging gardens]

"And what would become of the emptiness of space? Often enough it appears only as a lack. Emptiness is then regarded as the absence of a filling of hollows and interstices." Martin Heidegger

The first exhibition in the three new showcases of the sansaro artbox presents a work by the two Munich academy students that deals with space and its boundaries, as well as voids.

Inside the showcases, an installation keeps inflating to seemingly break the boundaries given to it.

In constant motion - growing, breathing, alive - the most diverse associations arise, which fascinate and irritate the viewer at the same time.

"Painting grounds I get fei bluntly and put on it white one of the lonely seeds, of which I do not know what wants out and where. Wherever I want, I take maps for it. With the pot I shed tones of colors, lay to black in the picture the track, seem out, like plants at the window, from which I sound in the greenhouse with images."

Julius Paul Ehrhart, born in the sixties, was a guest at the Munich Art Academy 1978 in the painting class of Prof. Gerd Winner (artist of the wall design in the Adalberthof of the Amalienpassage) and at the Vienna Art Academy 1987-1993 master student of Friedensreich Hundertwasser.

After studying "Visual Design and Therapy", he led open studios at Munich clinics for many years. Today he lives and works as a freelance artist and art therapist in Munich.

www.juliusehrhart.de

"This work is a photographic search for traces that I set out on in a cultural sphere that is completely foreign to me. Through the photographic examination of Japan, I show how a cultural divide can be overcome to create an approach to the foreign. My goal is to present the essentials of this other world in the form of a "poetic reportage" and, beyond that, to make social as well as emotional analogies visible. Fascinated by the otherness of Japan's culture and various photographic directions, I draw my portrait of Japan with this series of images. By the term "poetic reportage" I mean the mixture of different photographic genres such as documentary, street photography, essayistic narrative and snapshots."

Luise Aedtner, born in 1984 in Berlin and raised in Regensburg, did not grow up with a camera in her hand. However, she has always had a passion for art. In her communication design studies, she laid the foundations for her work today.

Before setting up her own business as a photographer in Munich, she worked in the picture department of SZ magazine and as an assistant for various photographers after graduating. www.luiseaedtner.viewbook.com