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Helmets of Resistance

Die Widerstandshelme sind der Fertigungstechnik der Ashanti in Ghana nachempfunden.
Dort werden kleine Perlen in eine spezielle Harz-Mischung gedrückt und auf diese Weise
wird die Oberflächengestaltung von Masken vorgenommen.
Sonja Keppler wandelt diese Technik ab und transferiert sie in unsere Gegenwart,
indem sie elektrische Widerstände in Papiermachémasse drückt und so Arbeiten fertigt,
die den Widerstand gegen zu viel Technisierung deutlich machen sollen.
Zugleich sind sie ein Plädoyer für das Archaische, unsere Ursprünge,
das Manufakturale und das Handwerk.

 
 
sonja keppler

Archaic symbols and objects from all cultures that still have an impact today
have and fascinate are an important part of Sonja Keppler’s work. The work shows
entities, but also ones that are becoming increasingly abstract forms in which
it should never be clear what they are or mean. The objects created through
intuition come from earlier, primal design methods close, but do not imitate
them. Tradition meets modernity. The original materials as well as new materials
are combined with the form in symbiotic way. Surfaces are created that have a
wide variety of structures and get close to the people he wants to touch.
The resistance helmets are based on the manufacturing technology of the Ashanti people
in Ghana. There, small beads are pressed into a special resin mixture. The surface of masks is
often made this way.

Sonja Keppler transforms this technology and transfers it into our time. At the same time they
are a statement for the archaic, our origins, the manufactured goods and the craftsmanship.
A helmet means protection, in this context protection from too much digitalization.