Ulla Wobst - "Curtained truths" by Chianciano Art Museum

Ulla Wobst Curtained Truths

International Confederation of Art Critics 1

ICAC

International Confederation of Art Critics

Front cover: “Forever” by Ulla Wobst - Couple Series, 2014 Oil on canvas, 140 x 120 cm

Ulla Wobst

The Music of Life Oil on canvas, 150 x 150 cm

Content The Artist

Couples Series ‘Dreamscapes of Genuine Passions’

Foreign Cultures Series ‘A Subconscious of Sensual Exoticism’

Elena Foschi, Art Historian

Karen Lappon, International Confederation of Art Critics

Literature Series ‘Metaphors of Timeless Poetries’

Portraits Series

Christopher Rosewood, International Confederation of Art Critics

Encounter in Atelier: ‘Highway to Stage - Studio’ Roy Lawaetz, Visual Artist and Writer from Saint Croix, U.S. Virgin Islands

Philosophy Series

Artwork Analysis

Timothy Warrington, International Confederation of Art Critics

Psychology Series

Exhibitions

Awards

List of Works

Edited by the International Confederation of Art Critics

Ulla Wobst

My main interest is man. His

relation to his fellow-men, to

his own self, to

God, the Universe, the numen, to life and death...

I want to show his manifold facets, his joy of life, his fears and wishes, his dreams, his sorrows and his reflectivenessâ&#x20AC;Ś Ulla Wobst

Ulla Wobst

Ode to the Sun and the Wind, 2011 Oil on canvas, 120 x 140 cm

The Artist

Ulla Wobst was born in Gelsenkirchen-Buer, Germany and studied German and English Philology, the study of language in written historical sources, for six years at the Universities of Munich, Tuebingen, Berlin, Cologne, Muenster and Wuerzburg. Wobst is essentially an academic who became a teacher and, shortly afterwards, was promoted to one of the six Headmasters at a German College with 1500 pupils. She was responsible for the Languages and Art Departments. She also taught German, English and Drama. In parallel, Ulla Wobst privately studied Art History and Fine Art in a process of self-discovery in which she developed her passion for painting. Ulla is married with two children and since 2001 she has worked as an independent artist in her Dortmund atelier. Wobstâ&#x20AC;&#x2122;s artwork has been selected for numerous solo and group exhibitions all over the world, such as the prestigious London Art Biennale. Her works can be found in international private collections, firms, institutions and museums.

Ulla Wobst

Ulla Wobst in her atelier, 2016 11

Ulla Wobst

Couples Series

Critique

Dreamscapes of Genuine Passions Elena Foschi Art Historian

Faraway worlds, archaic myths, mystic legends, literary icons and ancient cultures are the protagonists of Ulla Wobst’s creative expression. On the one hand, this visionary artist keeps us encircled by a magical spell saturated with surreal metaphors; on the other hand she meticulously depicts an enthralling plot of contemporary life, portraits of modern human relationships in habitual frenetic 21st Century scenarios. A sequence of dramatic events, souls driven by primordial passions and ferocious glances that give life to the intricate mosaic of emotions conveyed by each brush-stroke. The journey to discover the fertile artistic process of Ulla Wobst seems to have no limits nor boundaries. The viewer is charmed and trapped in the impenetrable tangle of her imaginative tales. In the series “Couples”, the protagonists experience a ceaseless struggle between Eros, bearer of harmony, sexual connection, and selfpreservation; and Thanatos, which conveys rancor, resentment and destruction. The juxtaposition between envy and empathy generates a perception of tension among the enigmas and the irrational desires of most human passions. Thus, the pure love that emerges from some compositions becomes, in other works, an unbridled jealousy that flows from the lively eyes of two lovers captured in a continuous game of unspoken words and appealing sensations. Hence, the viewer is lost in a maze of cryptic eloquence and complex feelings developed by Ulla Wobst’s subjects.

A Never Promised Rosegarden, 2005 Gouache and Pastels on paper, 64.5 x 50 cm 13

Ulla Wobst

Critique

Dreamscapes of Genuine Passions The definite chiaroscuro and the marked physiognomy bring to mind the expressive figures represented by “the Baroness with the paintbrush”, Tamara De Lempicka. Ulla is gifted with the same technical virtuosity of the Great Masters, the geometric vocabulary instructed by Cubism and the ability to communicate through the courageous use of melancholy light inspired by a Caravaggesque atmosphere. Ulla Wobst is capable to give new legitimacy to figurative compositions, representing dramatical scenes characterised by a combination of power, sensualism and hunger for intricate and refined references. The artist opens a window into her innermost fleeting memories and appears eager to engage the spectator with her subconscious dreams. The mysterious compositions provoke the viewer to thoroughly investigate the hidden meanings in Ulla’s judicious brushstrokes. The sharp lines and energetic colours stimulate as the composition draws us into awe inspiring anecdotes narrated by the artist, who, with her innate talent for detail, involves us in the allegories and underlying symbols of her creations. Albeit just when we think we have understood and captured the substantial meaning of the composition and the metaphors personified by the elusive characters, the artist’s message becomes deeper in its enigmas, surrounded by an aura of mystery that nurtures the fascination of each work, in an irresistible and stimulating trap for the beholder’s eye. In that precise instant, we understand Ulla’s strongest ability: these stories are not merely memories to appreciate aesthetically and admire with deference but tangible links between the symbolism of myth and our subconscious. Therefore, each narrative becomes inspiration that feeds the fire of our curiosity and extends ancient wisdoms and modern awareness in an avant-garde didactic interpretation of timeless paradigms.

Excursion Into Eternity, 2007 Mixed media on canvas, 80 x 60 cm

Ulla Wobst

Above: Together in an Old Tibetan Rug, 2007 Mixed media on canvas, 90 x 70 cm

Opposite: Accessory, 2004 Acrylics on canvas, 100 x 60 cm

Ulla Wobst

WHICH IS THE REAL YOU? The image I have of you is completely different from the image you have of yourself

And those images are completely different from the images each and every other person has of you

Moreover, the image I have of you now is different from the images I had of you in the past

Even your own image of yourself changes all the time So which of all these images is the real you? Deepa Khanna Sobti 21

Ulla Wobst

Blue Hour, 2013 Oil on canvas, 150 x150 cm

Below the Surface, 2012 Oil on canvas, 140 x 120 cm

Ulla Wobst

Foreign Cultures Series

Critique

A Subconscious of Sensual Exoticism Karen Lappon International Confederation of Art Critics

The primitive allure of the exotic and foreign has always conquered Western society and Art History. The charm of the unfamiliar and the discovery of unknown and uncertain worlds is a cornerstone of Wobst’s Foreign Cultures’ artwork series. Compositions inspired by tropical landscapes, oriental colours and indigenous civilisations. Wobst, sharing a journey parallel to that of Paul Gauguin, exemplary exoticist artist, well represents her fascination for a distant and idyllic world. We perceive Ulla’s sensitivity towards the irresistible juxtaposition and extraneousness between European paradigms and “oriental” customs. The artist has extensive first hand experience through travels to the Malaysian Rainforest: unspoiled vegetation, intriguing habits, practises and unknown traditions are romanticised into a universal message that is exemplified in imaginative and fetching representations. A remote world, full of mysterious folklore and mystical beliefs, in a riddle conceived from divergence in culture. Ulla’s artworks culminate in a symphony of pure, vibrant and glowing colours that electrify the compositions thus giving life to magical fables.

Rainmagic, 2009 Oil on canvas, 140 x 100 cm

Ulla Wobst

Shaman, 2004 Acrylic on canvas, 70 x 50 cm

Critique

A Subconscious of Sensual Exoticism The viewer is inexorably engulfed by an unfamiliar dimension created by the artist that transcends time and space. Thus, we are lulled by these allusive images full of exciting stories and attractive illusions. The spectatorâ&#x20AC;&#x2122;s mature awareness and critical sense of art are superseded by childlike and immaculate feelings that provoke a reaction untouched by adult preconceptions: Ullaâ&#x20AC;&#x2122;s works allows one to relive elements of childhood, bringing out the innermost instinctual drive of innate curiosity and joy through her bright and thought provoking compositions.

Shaman, 2004 (Detail) Acrylic on canvas, 70 x 50 cm

Ulla Wobst

Nomen Est Omen, 2005 (with detail) Acrylic on canvas, 70 x 90 cm

Ulla Wobst

Fly when the Wind is High - Spirit of the Hallucinogenic Plant, 2014 Oil on canvas, 140 x 100 cm

Opposite: Protector of the Birds, 2009, Mixed media on canvas, 140 x 100 cm

Ulla Wobst

After all these Journeys, Ulysses, 2015 Oil on canvas, 100 x 100 cm

Literature Series

Critique

Metaphors of Timeless Poetries Christopher Rosewood International Confederation of Art Critics

Ulla Wobst is an artist who cannot be categorised into one delimited artistic movement. By definition, Wobst’s paintings go beyond the boundaries of established art currents and styles: her creations are universal symbols, paradigms of human feelings, enriched by a magical realism that culminates in an evocative expressionism. Ulla Wobst’s conceptions radiate immeasurable aspects of Art History, therefore solidifying her status as a mature and experienced artist. The viewer is touched spiritually while the art historian enjoys a juxtaposition of ideas and influences that range from Magritte, De Chirico to Bacon and Dalí. Surrealism and the art of the mind is a fundamental pillar for Ulla Wobst who uses painting as a means to communicate the enigmatic paradox of the rational, human, spiritual and instinctive facets of her being. Wobst narrates and explains in a visual language infinitely deeper than any written word. Her dialogue is conducted with an unnamed mystical being, some form of divine presence or maybe directly with the soul. She contests, defines, explains and explores what lies beneath the superficial facades of contemporary life with a romantic awareness of times past.

Ulla Wobst

Detail of Am I Just A Thought?, 2015 Oil on linen, 76 x 51 cm

Critique

Metaphors of Timeless Poetries Ulla’s work could also be defined as Metaphysical Art in its focus on representations that glorify a poetic interpretation; alternatively her art could be construed as Symbolism with rich emphasis placed on mythology that is reborn in the form of subliminal messages as characters are timeless albeit contemporary as they share our daily satisfactions and afflictions. Silent and mysterious places are transformed into theatrical settings, in which the emotional essence of mankind is conveyed, portrayed and captured. One can also clearly perceive Ulla’s academic and intellectual background in the observation of her paintings: from the tragic love of Orpheus and Eurydice to Persephone, Queen of the Underworld; from the adventures of Odysseus to the Grimm Brothers’ tale of Jorinde and Joringel. Wobst’s work has a complex resemblance to a parallel world made of allegorical and fantastic imagery. The metaphors used by Ulla are not the familiar emblems of mainstream iconography but intensely personal, private, obscure and ambiguous. With the same communicative power as the emotional subjects depicted by Frida Kahlo, Ulla surpasses the boundaries of Symbolism, by eloquently merging Great Literature with the aspects of the precious golden fables painted by Gustav Klimt. Inspired by Byzantine imagery, Ulla gives life to stunning mosaic-like compositions with a vision that is more of a philosophy than a mere artistic style.

Diving Within, 2014 Oil on canvas, 140 x 120 cm 35

Ulla Wobst

Robbing the Plant of Heartbeat, 1984 (with detail) Mixed media on paper, 50 x 64.5 cm

Ulla Wobst

The Sandman, 2011 Oil on canvas, 120 x 160 cm

Harem Excursion, 2010 Oil on canvas, 100 x 120 cm

Ulla Wobst

“In retrospect I don’t regret not to have studied art. Sure, it would have spared me time as to learning different techniques more quickly than by books or trial and error. But no teacher can teach a painter his very themes.” Ulla Wobst

Orpheus and Eurydike Fooling Fortune, 2012 Oil on canvas, 120 x 140 cm

Ulla Wobst

Portraits Series “My paintings show that reality is infinite. It consists of everything revealed to us by our senses, lived an experienced, and as well includes everything imagined, felt, dreamt and thought of. But it is not limited to all this. In the realms of mind, spirit and soul there are no boundaries. For this purpose I make use of an archive of literary relations, dream projections and memories and also employ abstract, symbolic and surreal elements to transport a special message.” Ulla Wobst

Above: ‘La Bella del XXI Secolo’ - Kate Moss Portrait, 2005 Acrylics on canvas, 80 x 100 cm

On the right: ‘Kate’ - Kate Moss Portrait, 2006 Acrylic on canvas, 90 x 70 cm

Ulla Wobst

The Pantomime - Portrait Jean-Louis Barrault, 2013 Mixed media on canvas, 140 x 120 cm

The Golden Ball, 2009 Mixed media on canvas, 90 x 90 cm

Ulla Wobst

Wish to Pierce the Veils of Maya - Self Portrait, 2013 Oil on canvas, 90 x 90 cm

The Red Fan, 2009 Mixed media on canvas, 90 x 90 cm

Ulla Wobst

Encounter in Atelier

Ulla Wobst with her friend Roy Lawaetz

Highway to Stage - Studio Roy Lawaetz Visual Artist and Writer

Like an empty trailer waiting to be readily loaded, my mind pauses and reflects. I see illuminated fields in the morning sunlight with bales of hay punctuating the landscape. The highway opens up with its two lanes streaking through the golden glow. Cars weave back and forth with directional lights. Often they pass under a bridge or see a wooded area suddenly emerge. Signs of different sizes add to the overall complexity of shape and colours. The journeyed path to their goal oriented destination holds a packaged promise. Soon I’ll be dialoguing with master artist, Ulla Wobst. After about eight hours we reach our final destination in Germany. We meet the inimitable German Artist, Ulla Wobst, of imaginative worlds, of painterly-splendored works of art. Upon entering her place of residence and studio we see her paintings; it strikes us significantly how this artist has succeeded in amalgamating the pulse of life’s movement, colour and form (as if a transient experience is always meant to be captured in such consistently heightened elegance), no what matter the theme. Wobst’s art performs with brush-stroke its own velocities that intensify, that also take us to diverse destinations; her visual panels shift as if on a moveable stage: drama, tragedy, myth, soliloquy, pantomime, fairy tale and comedy in steadfast inertia, all rolling into one immense body of work. To be sure there are often indications of deep psychological transitions, intervals, signposts, intersections, intermediate or accessories to lived experiences. These she dexterously presents with a leading actor or actress, or compositely accompanied with others in supportive background scenes, in activated-making performances. The artist’s ability to intensely extract dramatic narratives and blend all these into such marvellous visual tonalities is most eloquently the signature uniqueness and stylistic dominance that impresses the viewer. Whether figurative, symbolic or poetic or surrealistic, all these productions have a curtained generosity to enrapture with stellar magnificence. Stories, tales, intrigues and dramas unfold with immense conviction. It takes much more than just the faculty of drawing and painting to accomplish this high level of work.

Ulla Wobst

Highway to Stage - Studio And these depictions are more than just painting inside a four sided frame. These dimensions have their uncanny ability to evoke fleeting imagery that tantalizes our imagination, our sense of the unusual, or our own willingness to accept and interact with each dramatic spectacle that is unfolding. Our own vehicle of perception must follow, ride along like a passenger in a moving vehicle through a stage, and observe, alongside a common direction that is man’s basic existence. Thus her powerful works are charged with the feverish juxtaposing intensity of elements that enthral. A horned female figure reigns supreme, as in a fairy tale-like forest, where gigantic red roses blossom out of trees rather than thorn bramble. But close by one of the trees morphs into a blazing man, consumed in flames, fired whole as if also his own creative object. Then tension between the two figures, man and female heightens, relates on various levels of commitment, the natural, the complex, the polarities. Elsewhere on another canvas a dancing marionette seems to gaze nostalgically at a cerebral transformation in the immediate distance--- a female figure in her own transformative stages. A telepathic couple, whose intelligence signals communicative skills, bridges geographic distances in code like connection. In “Viva la Musica” an ambitious inclusive presentation depicts an entire orchestra ensemble that is presented in enormous formation. All of the musicians wear black and white apparel and seem to echo piano keys in harmonious rebellion, or an uprising, or responding to another encore. Glass Doors in the residence separate interiors. You sense a desire to reveal rather than hide. The transparent panels on hinges lend the ability to usher in connecting function like props in a theatrical backdrop that can be mobilized. Hundreds of books representing some of literature’s finest writers, poets and playwrights as well as visual artists fill shelves in the residence. Wobst, herself, is a highly-informed practitioner of art and is no stranger to the Theatre; she has taught drama for thirty years. Her works thus bind to a singular background and experience and it shows. She can orchestrate the clever procession of mask-like figures operating in a twilight zone of fact and fiction, she can conjure imagery of pensive reflection, of memory-based reminders. Mental floatation that surface, bobble and assertive themselves, above the significant terrain as well as psychological depths that are anchored to childhood, family friends and loved ones.

Highway to Stage - Studio These are not trivial; they have a rich complexity. They project themselves as free agents unattached to preconceived perceptions. Consider “Ode to the Sun and the Wind,” a kaleidoscopic unravelling narration, one where timeless featured cycles appear as a checkered crossroad, between early fascination with Nature, and its enduring ability to solicit lasting audience attention. In the work “Adrenalin” we observe how she interprets energy forces tied to the phenomenon of physicality but she does so in a playful mode, not at all terrifying, but rather acrobatically, exhilarating pantomime. A buoyant coloration dominates the performance, one that engages the viewer to accept a competitive viewpoint in order to succeed. In “Mysterious Passage” (one of my favourites) an abundance of elegance suggests a magical atmosphere of explorative experience, a male and female, depicted as convinced seekers of a beckoning Utopian Empire. I quickly sense that the movement of the highway, (though already now behind me) is not yet over. I pick up with another sense of pace, one that emerges with transformative imagery. The swift artistic direction of Ulla Wobst, that is breathtaking, takes over. Wobst’s memories, experiences, thoughts and lifestyle to world literature, drama and opera, all provide rich sources for her startling inspiration. Like worker bees that draw sweet honey from these blossoming flowers of immense diversity, these intellectual transporters of her personality are in transformative stages. Once they arrive to her art studio a perception converts from the natural nectar of life to an assimilation of the senses. In this sense, Wobst is the Queen Bee of a specialty art form. Hers is one that is being honeycombed to a principled refined sophistication. Staggering cubicles of artistic and psychological filtering create layered storages like bastioned hives of worker bees that have a deep sense of protective security. When I observe the subject of a man and a woman again in the “Mysterious Passage” I perceive this quality in her canvases. What at first glance appears to be a rugged and adventurous safari type excursion by the depicted couple is suddenly softened with a surprise introduction. Aquatic undertones carry a fluidity. A fish swimming between the couple suggests a silent metaphor, swimming between them as emotional linkage: despite the dreamy excursion reality still remains fundamentally domestic. Psychological enigmas seem to appear and vanish at intervals between portent curtains. But we always sense this artist has something important and revealing to say: evoking mysteries, ironic dialogues, witty exchanges, overlapping experiences, forgotten spells, myths, fairy tales, fantomas, perhaps now more poignantly remembered or reinvented.

Ulla Wobst

Mysterious Passage (Absorbed by Strange Surroundings), 2010 Oil on canvas, 130 x 80 cm

Highway to Stage - Studio For there’s a sense of metamorphosis, too, in her large panels. We see opposing elements converging and assigned spheres of existence as necessary participants. Some are perceived as intruding spectators as if unwanted eavesdroppers, spy like players who also want to participate in a personal and intimate discussion. These elements might have been erased in another artist’s studio as being problematic and unnerving. But not in Wobst’s production itinerary. They are given leave to exist and to take on a participatory role. Wobst allows them to survive. And perhaps more than that she allows them a marked disguise, no matter how less significant to the main themes. Thus the overall dramatic tension in her work carries out a steady unfurling, a kind of blunt intellectual reminder that personal privacy is often an unrealized human luxury. Also that life is composed of many diverse influences, not just the visual exterior, but the interior landscape. There are always the unexpected actors, the uninvited performers, the clash of modern day expectancy to live up to a prevailing viewpoint on the world. Often her works seem to remind, to even warn of a less worthy mortal existence within the scenes of the masterful performances. Costumed sequences dominate, exits and entries continue to interplay, to cajole and comment and influence, the curtained truths of humanity. I think of the theatre of the Absurd and some of its playwrights like Beckett, Ionesco and others. How they, too, reveal below the surface of realities. Their works seem to have influenced her own work, arguably as much as visual artists. I can say this with a sense of conviction. Wobst, admittedly and often to her credit, has not been influenced by art professors. She has indeed gone on record as stating that she found them to be too oppressive. On her own, she found her own true path in the silence and in the measured choices of her own experience. This thread of nonconformity, this conscious departure from the traditional approach, belies her individual strengths. Never will her work reflect the personal biases or dislikes of instructors. Pollock as one example used the personal likes and dislikes as a wall to test his own individual bounce, his own developed style, that was the antithesis of his teacher, Thomas Hart Benton, and his vision of rural America. Wobst uses theatre’s unfolding sequences as her reference points to these staged crossroads of her inner world. It is this workable coordinate that is so wondrously appealing in her work, powerfully orchestrated in her STAGE-STUDIO.

Ulla Wobst

Philosophy Series Roy Lawaetz,

visual artist and writer:

“Lord Byron said ‘To do greatly we must dare greatly’. Ulla

Wobst represents the spirit of an artistique refinement. She is an evanescent being whose works transcend the visual. She recaptures consistently with sensitivity and grace much of what is lost in the world today. And these are valid reasons why her works are so extraordinary, such a brave antithesis to much of the banality we witness in art today”. Ulla Wobst: “Thank you for your appreciative comment that means much to me, Roy Lawaetz. Of course, to express one’s individual reality honestly, frankly and intensely means courage to be vulnerable, if that’s what Lord Byron means. But it is the only way to speak about man in general. And that is what I want.”

The End of Desert Time, 2008 Acrylic on canvas, 90 x 180 cm

Infinite Entanglement of Cultures, 2016 Oil on canvas, 140 x 120 cm

Ulla Wobst

Above: Guardian, 2014 Oil on canvas, 140 x 120 cm

Opposite: Meditation on Life and Death, 2015 Oil on canvas, 140 x 120 cm 58

Ulla Wobst

Artwork Analysis Timothy Warrington International Confederation of Art Critics

Many of Wobst’s paintings draw inspiration from her erudite and profound studies of philology, literature and art history and in each representation she is gifted with the ability to transmit powerful emotions. In her theatrical canvases, Ulla’s passion is clearly perceivable in the same way her innate meticulous artistic planning is evident. She conquers the poetic soul of the ideas expressed and is able to envision and communicate deep feelings and thoughts. The unification of the cultural and spiritual facets of Ulla’s mind results in fascinating works, such as “Courageous Departure”, in which Ulla interprets her philosophical vision with majestic contrasts between pure shades of colour and surreal characters floating over metaphysical landscapes. A vivid dark sky gives strength to the marvellous composition and becomes an evocative protagonist of the painting as much as the cryptic fish and the skeletal outline depicted. Ulla proves to be a determined and unique creative force in her exploration of the innermost permutations of the human condition, represented as an inscrutable entanglement of emotions and rational conundrums. The artist poses important questions: “Where do we come from, why are we here and where will we go...” that reinforce the deep philosophical roots that lead to the complex and expressive manifestations of Ulla’s mind’s eye. The inclusion of extremely powerful shades of red adds intense mystery as well as evokes fabulous imagery and profound meditation. Ulla’s diverse creativity and eclectic visions are thought provoking and a source for self-analysis. Each painting shows her skill, the mastery of her brushwork and her absolutely explosive drive, making Ulla one of the most interesting painters of our generation.

Courageous Departure, 1974 Acrylic on canvas, 90 x 70 cm

Ulla Wobst

The End is the Beginning, 2002 (with detail) Mixed media on paper, 50 x 64.5 cm

Ulla Wobst

Psychology Series â&#x20AC;&#x153;The combination of teaching Literature analytically and practically in the so called Leistungskursen and Drama classes was fruitful and my painting benefited from teaching drama, Not only could I cautiously guide young actors to embody other persons, but also learned a lot about composition, how to arrange persons and important requisites effectually in an empty stage. The transition from my first profession as a teacher to that of a painter was almost seamless as far as the themes were concerned. An especially psychological canvas was the consequence and continuance.â&#x20AC;? Ulla Wobst

Nightmare, 2015 Oil on canvas, 140 x 120 cm

Searching Traces, 2007 Mixed media on canvas, 80 x 60 cm

Ulla Wobst

Changing Roles, 2007 Mixed media on canvas, 80 x 60 cm

Intrigue, 2015 Oil on canvas, 140 x 120 cm

Ulla Wobst

Song of a Broken Doll, 2013 Oil on canvas, 140 x 120 cm

Banning Evil Ghosts, 2005 Mixed media on paper, 64.5 x 50 cm

Ulla Wobst

Exhibitions 2016 Triennale “Italia della Creativitá”, organised by EA Editore, Verona 2015 “I Segnalati” Exhibition, Edinburgh, UK Chianciano Biennale, Chianciano Art Museum, Italy “ART MONACO 2015”, France Louvre Carrousel Art Shopping, France London Art Biennale, UK 2014 Word Wide Art Los Angeles, Los Angeles Convention Center, USA Museum of Modern and Contemporary Art of Monreale, Italy Berlin, LDX Artodrome Gallery, Germany Art Peking, LDX Artodrome, China Galerie Marziart, Hamburg, Germany Artavita, World Wide Art, Los Angeles, USA 2013 Chianciano Biennale, Chianciano Art Museum, Italy Pall Mall Gallery, London, UK “London, Art of the Mind”, Gagliardi Gallery, London, UK London Art Biennale, London, UK 2012 “Body Anatomy”, Galleria Tondinelli , Roma, Italy Amsterdam Showcase at De Oude Kerk, Netherlands Chianciano International Art Award, Chianciano Art Museum, Italy (Tuscany) ARTELIBRE Gallery-Art Aragon Group, Zaragoza, Spain LDXArtodrome Gallery, Berlin, Germany Museo de la Ciudad de Merida, Yucatan, Mexico Art Palm Beach, LDXArtodrome Gallery, USA LDXArtodrome, Malta

Exhibitions 2011 Art Fair Lausanne Schweiz, Centre de Expositions, Lausanne, Switzerland Broadway Gallery, New York, USA “Rot-Orange”, Berlin, Germany Biennale Chianciano, Chianciano Art Museum, Italy Shanghai Art Fair, China LDX Gallery, Bejing, China Artodrome Gallery, Berlin, Germany 2010 Galerie Werkstatt, Bettina Kretschmer, Bochum, Germany The Affordable Art Fair, Amsterdam,The Netherlands DONNARTE, Fortezza Medicea Girifalco, Cortona, Italy DLX Gallery, Peking, China CIGE, Peking, China 2010 Jaffa-Museum Exhibition, Tel Aviv, Israel London Art Biennale, London, UK Shanghai Art Fair 2009 Biennale Chianciano, Chianciano Art Museum, Italy Galerie Del Mese/Fischer, Palazzo Verbania, Luino, Italy Galerie Artodrome, Berlin, Germany CIGE Peking, China Bridge Art Fair New York, New York, USA Opera Gallery Budapest, Hungary 2008 Fürstenball Spielcasino Hohensyburg, “Japanische Impressionen”, Germany International KG Gallery, Art Center Berlin, Germany Galerie S.P.A.S, Saint Petersburg, Russia International K.G. Gallery, Artexpo New York, USA

Ulla Wobst

Ulla Wobst has been selected to exhibit at the prestigious Chianciano Biennale in Italy, 2013

Ulla Wobst with her works

Awards Only mentioning the last ones: • • • • • • • • • •

First Prize , London Art Biennale, 2013 First Prize, Biennale Chianciano, 2013 Palm Art Award Leipzig, Special Prize, 2013 Europe in Art, Paris, 2014 Raffaelo Sanzio / Nelson Mandela Award, Lecce, 2014 Botticelli Prize, Florence, 2014 Third Prize, Biennale Chianciano, 2015 Prize International Rome Imperial, Rome, 2015 Bernini/ Anne Frank Award, Lecce, 2015 Critic Award, Edinburgh, 2015

Ulla Wobst with the famous Italian art critic Vittorio Sgarbi at the “Triennale dell’Arte” 2016, in Verona, Italy

Ulla Wobst with Paolo Levi, Italian renowned art critic, journalist, essayist and art curator.

Ulla Wobst

Inner Voice, 2007 Mixed media on canvas, 80 x 60 cm

List of Works The Music of Life - Couples Series, Oil on canvas, 150 x 150 cm

Telepathy, Couples Series, 2004, Acrylics on canvas, 80 x 100 cm

6-7

Ode to the Sun and the Wind - Season Series, 2011, Oil on canvas, 120 x 140 cm Ulla Wobst at work in her studio

8 10-11

A Never Promised Rosegarden - Couples Series, 2005, Gouache and pastel on paper, 64.5 x 50 cm

Excursion Into Eternity - Couples Series, 2007, Mixed media on canvas, 80 x 60 cm

Rendezvous in a Beautiful Town - Couples Series, 2007, Mixed media on canvas, 100 x 140 cm

16-17

Together in an Old Tibetan Rug - Couples Series, 2007, Mixed media on canvas, 90 x 70 cm

Accessory - Couples Series, 2004, Acrylics on canvas, 100 x 60 cm

No Moon Tonight - Couples Series, 2012, Oil on canvas, 120 x 140 cm

20-21

Blue Hour - Couples Series, 2013, Oil on canvas, 150 x150 cm

Below the Surface - Couples Series, 2012, Oil on canvas, 140 x 120 cm

Rainmagic - Foreign Cultures Series, 2009, Oil on canvas, 140 x 100 cm

Shaman - Foreign Cultures Series, 2004, Acrylics on canvas, 70 x 50 cm

Nomen Est Omen - Foreign Cultures Series, 2005, Acrylic on canvas, 70 x 90 cm

28-29

Fly when the Wind is High - Foreign Cultures Series, 2014, Oil on canvas, 140 x 100 cm

Protector of the Birds - Foreign Cultures Series, 2009, Mixed media on canvas, 140 x 100 cm

After all these Journeys, Ulysses - Literature Series, 2015, Oil on canvas, 100 x 100 cm

Diving Within - Literature Series, 2014, Oil on canvas, 140 x 120 cm

Robbing the Plant of Heartbeat - Literature Series, 1984, Mixed media on paper, 50 x 64.5 cm

36-37

The Sandman - Literature Series, 2011, Oil on canvas, 120 x 160 cm

Harem Excursion - Literature Series, 2010, Oil on canvas, 100 x 120 cm

Ulla Wobst

List of Works

Orpheus and Eurydike Fooling Fortune - Literature Series, 2012, Oil on canvas, 120 x 140 cm

40-41

‘La Bella del XXI Secolo’, Kate Moss Portrait - Portraits Series, 2005, Acrylics on canvas, 80 x 100 cm

‘Kate’ - Kate Moss Portrait - Portraits Series, 2006, Acrylic on canvas, 90 x 70 cm

The Pantomime - Portrait Jean-Louis Barrault - Portraits Series, 2013, Mixed media on canvas, 140 x 120 cm

The Golden Ball - Portraits Series, 2009, Mixed media on canvas, 90 x 90 cm

Wish to Pierce the Veils of Maya - Self Portrait - Portraits Series, 2013, Oil on canvas, 90 x 90 cm

The Red Fan - Portraits Series, 2009, Mixed media on canvas, 90 x 90 cm

Mysterious Passage (Absorbed by Strange Surroundings)- Psychology Series, 2010, Oil on canvas, 130 x 80 cm

The Power of Creation, Portrait Samuel Beckett - Portraits Series, 2008, Mixed media on canvas, 70 x 90 cm

54-55

The End of Desert Time - Philosophy Series, Acrylic on canvas, 90 x 180 cm

Infinite Entanglement of Cultures - Philosophy Series, 2016, Oil on canvas, 140 x 120 cm

Guardian - Philosophy Series, 2014, Oil on canvas, 140 x 120 cm

Meditation on Life and Death - Philosophy Series, 2015, Oil on canvas, 140 x 120 cm

Courageous Departure - Philosophy Series, 1974, Acrylic on canvas, 90 x 70 cm

The End is the Beginning - Philosophy Series, 2002, Mixed media on paper, 50 x 64.5 cm

62-63

Nightmare - Psychology Series, 2015, Oil on canvas, 140 x 120 cm

Searching Traces - Psychology Series, 2007, Mixed media on canvas, 80 x 60 cm

Changing Roles - Psychology Series, 2007, Mixed media on canvas, 80 x 60 cm

Intrigue - Psychology Series, 2015, Oil on canvas, 140 x 120 cm

Song of a Broken Doll - Psychology Series, 2013, Oil on canvas, 140 x 120 cm

Banning Evil Ghosts - Psychology Series, 2005, Mixed media on paper, 64.5 x 50 cm

Inner Voice - Psychology Series, 2007, Mixed media on canvas, 80 x 60 cm

Edited and published by International Confederation of Art Critics London, 2016 Copyright © 2016 International Confederation of Art Critics Layout by Elena Foschi www.international-confederation-art-critics.org

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78 International Confederation of Art Critics