Hannah Sophie Dunkelberg

Altweiberknoten II

powder-coated metal, 2022

Hannah Sophie Dunkelberg’s sculptures stem from her exploration of unconventional and sometimes contradictory processes and techniques. Through her use of massive, powder-coated metal ribbons, the artist skilfully invokes ambivalence and immediacy, orchestrating a delicate interplay between the artworks’ scale, the material, and the connotations of a meticulously tied bow. These substantial steel ribbons evoke reflections typically associated with such an object. Despite its industrial appearance, its inherent lightness challenges perception, while visible scratches and dents hint at a life rich with diverse experiences. Symbolizing childhood, the ribbon encapsulates the dichotomy of joy and struggles. Although the surreal nature and playful colours help to counterbalance the gravity of the subject, it’s the ironic sense of humour they evoke that serves as a means of subverting prevailing expectations and norms.  

Hannah Sophie Dunkelberg is a sculptor, born in 1987 in Bonn, Germany. She pursued her studies at the HfBK, Hamburg University of Fine Arts, and completed her education at the Berlin University of the Arts, UDK, under the mentorship of Manfred Pernice. Applying techniques such as welding, forging, and lacquering, she meticulously crafts her artworks with industrial tools, resulting in a labour-intensive practice. Despite working with heavy, cold materials like steel, aluminium, and plastic, Dunkelberg infuses her creations with a playful interplay of shapes and colours, drawing influence from pop culture. Her explorations delve into the dynamic relationship between the real and the abstract, often utilizing furniture and domestic objects as a foundation for her experimental endeavours. Currently based in Berlin, she continues to create and innovate within her artistic practice.

Diuna Art Collection

Sculpture / Landscape / Form – Diuna

In  Diuna project, we create the landscape as humans, it’s not created by nature, employing tools and quotations throughout the process. The resulting landscape isn’t and won’t be natural, yet it encompasses something more – a fusion of emotions, gestures, and an endeavor in composition that evokes a sense of harmony, even if it presents as an anomaly.  

The anomaly evolves into a positive force, forging a new trajectory in shaping space, where materials and textures play a crucial role—initiating a sensory dialogue with human presence in a specific space. An integral element of this exchange is the inclusion of artists’ works within the spaces of the lobbies forming an additional stratum of  Diuna’s landscape. Each artist interprets the landscape, lines, and gestures in a distinct manner, crafting fresh meanings that unfold across multiple dimensions.  

The pieces from Jan Dziaczkowski’s “Mountains for Warsaw” collection displayed in lobby B is a poignant metaphor for the artist’s profound adoration for the mountains. They encapsulate a fulfilled dream, illustrating the hypothetical scenario of Warsaw nestled within mountainous terrain. Through these works, the artist delves into the cultural metamorphosis that accompanies a shift in landscape, a backdrop that significantly influences us. The juxtaposition of skyscrapers against the mountain backdrop enhances their allure, while the addition of a roller coaster leading to the Royal Castle constructs a vision of utopian tourism, ultimately attaining an iconic status. Janek’s envisioned landscape prompts us to recognize the pivotal role of our surroundings in shaping our emotions and aspirations.  

Meanwhile, in Nikodem Szpunar’s showcased works in lobby C, the landscape transforms into a graceful gesture, crafted with a specially designed brush. These abstract yet intimately familiar creations exude tranquillity and harmony, akin to a form of grand calligraphy or meditation. They establish a seamless connection between us and the environment, fostering a sense of flow and unity.  

A strikingly different piece, “The Bow” by Hannah Sophie Dunkelberg adds a touch of pop culture to lobby D, intriguing us with its unconventional form. While the bow may initially exude an air of sweetness and innocence, the material comprising it is sharp, angular, and weighty, imparting an aura of complexity and inaccessibility. Delving beneath the surface, the object challenges established norms and social expectations, offering a poignant commentary on the inherent difficulties that accompany notions of nicety and beauty. Yet, when viewed through the lens of space as compositions in a more organic light, the tribulationof conforming to conventions fade into insignificance.  

The art collection is enriched by the presence of “The Pink Mermaid” in lobby A, a neon  created by Maurycy Gomulicki in 2013. This piece seamlessly integrates with the theatrical ambiance of the lobby, combining distinct elements of expression that the artist passionately emphasizes in his work—neon pink hues and an admiration for the Warsaw mermaid, depicted here in an exquisitely feminine and even seductive form.  

The resulting lobby landscapes A, B, C, and D form a subtle extension of the new outdoor patio space. The sculptures by Łoskiewicz Studio harmonize with the concept of intertwining our thoughts with nature, creating a space rich in complex details and textures, where emotions find tangible form. The ensemble evokes a contemporary temple, serving as a space where we seek dynamic harmony and balance, if only for a fleeting moment.

„Don’t try to understand it. Feel it.” – Tenet