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Keywan Grashoff - sculpture, plastic, photography, photomontage

„During her medical study, science constantly reveals her new insights in the “miracle of human nature”, a theme in which almost all the scientific disciplines congregate. She studies the great interaction of biological, chemical and physical processes that determine our health; so to speak she delves into the oneness of “body and soul”. And at the latest through the study of anatomy, the study of our locomotors system, medical student Keywan Grashoff gets more and more enthusiastic about the idea of the beauty of the human shape and she explores the secrets of creation.

Today it isn’t surprising that these thoughts have captured her more and more, so that her wish to be herself creative grew, in order to artistically reproduce the becoming of man from the egg cell to the birth and the fantastic life on our planet. She wanted to learn how to shape with her hands this way of creation and to manifest it in every aesthetic interpretation for the edification of her fellow beings in the works of art.

At this decisive ramification of her inclinations, medicine on one side and art on the other side, she projects her double talent to the great society worldwide that was barely perceived by her so far: this talent isn’t transposed into a mere expression of intentions concerning other scopes, nor it dies out at best with an unprofessional second or even third attempt in the practice. No – Keywan Grashoff puts her knowledge into practice through a necessary learning process. As a practicing internist, she knows that also the artistic work must have a basis, which derives from skillful handwork, knowledge and capability.
Consequently she studies visual arts at Bremen University. Her professors were artist and lecturer Prof. Adrian von der Ende and Mathias Dudenstädt. During this apprenticeship the delicate doctor comes to know the important contact to heavy stones and metals. She treats granite, marble and alabaster, she forges with hammer and chisel and she models plastic representations. Alabaster becomes her favorite material, it gathers sunbeams and it has an own glow apparently.
She also masters the art of metal-founding. A lot of her plaster moulds were the preparatory works for her works of art in bronze, tin and silver founding. With Prof. Adrian von der Ende she learns the artistic technique of founding in a year of private apprenticeship from an ancient tradition of 2500 years. With the chasing chisel she carves steel tools differently shaped, the so-called hallmarks, and she transforms thin silver or golden plating into decorating ornaments, or she shapes fine figurative sceneries.
However, at the beginning she’s a sculptress of course materials and she studies further with training courses abroad in Italy (Pietrasanta, Carrara) and Spain (Zaragoza). She sets herself an artistic task: forming in the spatial dimension; she discovers her material in its forge ability as a means to traduce the world of her thoughts, which is transferred from her medical work to art. Themes come to life here, “archaic birth”, “Venus from the sea”, “Torso”, “The Untouchable”, “Sign of life embryo”, “Devotion” or besides many other of her white marble plastics “Borders of ethic”, “the embryonic native cell”.
With increasing independent artistic work she overcomes the difficult obstacle of the artist: to bring the essentiality of a statement “to the point” with the frugal means of shaping, in support of her mature style, the inimitable sign of an artist.
When you’re in front of her works of art, you can perceive the intensity of the flow of her thoughts that she incorporates in the cold material. Her feelings, her sensitivity and spiritual warmth are in a way the godfathers of her works of art.
She considers bronze and tin forms as “strength” of her plastic representations. Every plastic is an interaction of vigorous tense surfaces and sweeping deep sensible inner surfaces as a correspondence. Feelings, sensitivity and warmth unify in her plastics and make them in their entirety a source of harmonious sensible strong forms. Almost all her plastics are unique specimens or they are available in a very limited edition.

Sculpture and plastic composition is the art to see the becoming in the entirety and vastness of its immateriality, and to give it invigorating shape through the creation process.

The encountering with alabaster at the place of its genesis, where it glows in the sun, fascinated the artist. Through the treatment and reception of alabaster sculptures, the experience of light, which this stone gathers, comes to the foreground. The form in the stone or the one that seems to be indicated in the unwrought form is deeply influenced from its transparency. We can see how this stone always glows and comes to life differently, according to the wall thickness and the incidence of light.

Keywan Grashoff‘s plastic forms lead to the deepest mysteries of art. They prompt the observer to touch and talk. Everyone should recognize in them what she wants to express through them. The richer her sensations are, the more lively the dialogue becomes, lifelong ideally.

Every plastic form is an interaction of vigorous tense surfaces and sweeping lines. Consider only the game of light and shadow on the smooth detailed surface, the correspondence of the inside and the outside, the omitted space, the breach, the proportions, the balanced contrasts of the vigorous form that constantly inspires harmony.

The sculpture of Keywan Grashoff also reveal through their material and through the particular tender shaping and treatment of the surface an atmosphere that seems to suits to the place of issue. Superficially, a sculpture can be conceived as “eternal feminine”. However, the form, which symbolizes fullness and emptiness at the same time, has a double meaning like all the essential types of form and symbols.

However, fertility doesn’t consist only in the disclosure of its organic life, but also in the disclosure of spiritual vigor, so in devotion and for example in the communication of experiences and insights. Life was conserved in women ever since in manifold ways.
Therefore, the sculptures of artist Keywan Grashoff can be seen as the expression of a demarcation between the so-called eternal feminine and a vigorous but unaggressive beautiful alternative.
Various cultural influences coin Keywan Grashoff in the different phases of her creative process. Her works come to life under the impressions and experiences that the artist collected during her numerous apprenticeships and journeys through the world.

Men, lands, the sea and nature fascinate Keywan Grashoff, and that can be seen in her works. She uses chosen stones and forms of nature. Her works (objects and pictures) are coined from immense calmness and harmony, from a unique high sobriety.
These godparents make sure that even themes concerning experimental debates on human existence and identity as the source of harmonic sensible and vigorous forms, lead to a constructive art appreciation. No work by her can hide that female energy that the artist develops in her art and that she delimits from the male pleasure in playing and experimenting. The honesty and seriousness of artist Keywan Grashoff can be immediately seen at first sight in her sculptures and it becomes a pleasant joining experience in the internalization of her art.”

September 2008, art historian & gallery owner