Searching, finding, collecting, combining and transforming is an elementary part of Angelika Lill-Pirrung's artistic work.
The artist discovers fascinating traces of use, decay and time on weathered wood, driftwood and sawwood, rusted metal and old everyday objects. It is these traces of time that inspire her.
The finds, mostly discovered at flea markets, develop into something “new” through their combination with other materials such as clay or wood and through the process of transformation itself.
In most cases, archaic- but also majestic-looking steles are created. Angelika Lill-Pirrung usually fires the clay in raku, an old Japanese firing technique in which the elements earth, fire, water and air come into play and have a decisive influence on the result. The basis of her sculptural work is a playful yet serious approach to former meanings and new assignments, that is, a transformation of then and now, of memory and the present, of eternity, transience and the future. The sculptures have the aura of being used. They carry a story within them which can be sensed. But they are also clearly located in the here and now and become new sculptural bodies through the artist's hands and thoughts.
Angelika Lill-Pirrung has been dealing with the theme of time – remembering, capturing, conserving – in her installations for many years. In the Palazzo Mora in Venice, for example, she is showing a pair of steles from the series Wächter, which she has been creating for years from the combination of various raw materials (objets bruts).
This pair of steles is a characteristic mix of the artist: It consists of flamed reclaimed wood, raku-fired clay and objets trouvés such as the used hammers, which are connected with copper-colored metal threads.
In her paintings, Angelika Lill-Pirrung reflects impressions of the landscape of many journeys. The image of the landscape is not in the foreground, rather, the artist´s imagination clearly prevails. The pictures have a remarkable three-dimensionality, where Angelika Lill-Pirrung's artistic origins as a sculptor are evident.
Painting and sculpture are always created in parallel. Depending on her mood, she moves as a painter or sculptor from spatial to sensory impressions, from landscape to found objects, from raku to metal, from history to the present. The traces of time, as messengers from the past or from memories, go hand in hand with time and form imaginative new creations.