Künster*innen
Alexandra Hahn
Zeichnungen
Drawings
Drawings
Angela Stevenson
Farben und Haikus
Colours and Haikus
Colours and Haikus
Charlotte Eckmann
Unterwasserleben dokumentieren
Documenting marine life
Documenting marine life
Henrike Gesa Timm
Pastellfarben
Pastel colors
Pastel colors
Jacqueline Bertlich
Fotos aus Island und Schweden
Photos from Iceland and Sweden
Photos from Iceland and Sweden
Jamie Parker
"Punimals" - Wortspiele aus der Wissenschaft und Natur
"Punimals" - Science and Nature puns
"Punimals" - Science and Nature puns
Kathrin Busch
Acrylmalerei
Acrylic painting
Acrylic painting
Maike Heinitz
Ölmalerei und Experimente mit unterschiedlichen Materialien
Oil painting and experiments with different materials
Oil painting and experiments with different materials
Mara Strunk
Abstrakte Emotionen
Abstract emotions
Abstract emotions
Mariana Hill
Zeichnungen und Fotografie
Drawings and Photography
Drawings and Photography
Meike Klischies
Blick in die Erde
View into the earth
View into the earth
Nico Augustin
Astrofotografie
Astrophotography
Astrophotography
Nicolás Smith-Sánchez
Aquarellmalerei der Natur
Aquarell paintings of nature
Aquarell paintings of nature
Philipp Süßle
Leben Unterwasser
Life underwater
Life underwater
Rita Erven
Emotionen
Emotions
Emotions
Rudolf Link
Momente in Fotografie
Moments in photography
Moments in photography
Ulrike Panknin
Juwelen des Meeres
Ocean Jewels
Ocean Jewels
Wanxuan (Ben) Yao
3 Aspekte des Doktorandenlebens
3 aspects of PhD life
3 aspects of PhD life
Yifan Song
Papiermodell
Paper Model
Paper Model
Sarah-Marie Kröger
Expeditionseinblicke
Expedition Insights
Expedition Insights
Tobias Strickmann
Zeichnungen
Drawings
Drawings
Nach oben scrollen
Nach links scrollen
Nach rechts scrollen
Nach unten scrollen
Alexandra Hahn
Zeichnungen
Drawings
Angela Stevenson
Farben und Haikus
Colours and Haikus
Charlotte Eckmann
Unterwasserleben dokumentieren
Documenting marine life
Henrike Gesa Timm
Pastellfarben
Pastel colors
Jacqueline Bertlich
Fotos aus Island und Schweden
Photos from Iceland and Sweden
Jamie Parker
"Punimals" - Wortspiele aus der Wissenschaft und Natur
"Punimals" - Science and Nature puns
Kathrin Busch
Acrylmalerei
Acrylic painting
Maike Heinitz
Ölmalerei und Experimente mit unterschiedlichen Materialien
Oil painting and experiments with different materials
Mara Strunk
Abstrakte Emotionen
Abstract emotions
Mariana Hill
Zeichnungen und Fotografie
Drawings and Photography
Meike Klischies
Blick in die Erde
View into the earth
Nico Augustin
Astrofotografie
Astrophotography
Nicolás Smith-Sánchez
Aquarellmalerei der Natur
Aquarell paintings of nature
Philipp Süßle
Leben Unterwasser
Life underwater
Rita Erven
Emotionen
Emotions
Rudolf Link
Momente in Fotografie
Moments in photography
Ulrike Panknin
Juwelen des Meeres
Ocean Jewels
Wanxuan (Ben) Yao
3 Aspekte des Doktorandenlebens
3 aspects of PhD life
Yifan Song
Papiermodell
Paper Model
Sarah-Marie Kröger
Expeditionseinblicke
Expedition Insights
Tobias Strickmann
Zeichnungen
Drawings
Angela Stevenson
Colours and HaikusAngela Stevenson
Angela Stevenson
Angela Stevenson
Scient(art)ist
Vollbild
Twitter: @DeepseaSlug
Instagram: @angela_adoba_maya
Motivation:
As children we listen to our inner self, our intuition and only do what feels right and makes us happy. As adults, this becomes more difficult. Art has helped me navigate life like a child and the process I use to create it gives way to a deeply reflective moment, preventing conscious intervention and providing the necessary silence to make sense of everyday life.
From the beginning, I loved drawing and exploring nature, but most of all, I treasured learning. I grew up in a small village by the St-Lawrence Estuary, in Quebec, Canada; the estuary, its tributaries and forests were always just foot steps away. It was a perfect classroom that equally balanced all of these aspects that I loved: the changing tides and seasons brought in new and interesting animals every day. It fed my curiosity, so I beach combed incessantly, and this is how I learned about the life that existed there.
I was too young to write about it as I do now in academia, so I documented my findings via drawings, paintings, even sculptures. And because of this, I formally entered the world of natural sciences fully embracing Einstein's sentiment about the need for imagination, intuition, creativity, and play in science. I mean, for example, I had put this notion into practice for the first 18 years of my life so it was truly well ingrained in me by the time I started my undergraduate studies. But here I was faced with a different reality – in which art and science were more separate than I had imagined.
Because art is an expression of thoughts and emotions, its product is a window into how the artist experiences their world. Drawn and painted over nearly two decades (i.e. high school student to now, a postdoc), my artworks offer a retrospective review of my mindset and relationship with science at various stages of my academic journey. While it is evident that through the formal scientific training I received, I was able to hone the necessary technical skills, it is also clear, looking back at these images, that at times, this training did not achieve the same for my creativity and curiosity. In Stevenson 2021, I showcase that artwork and explore the idea that artistic technique and scientific discovery are unified at their core as products of creativity. For over a decade, I have remained passionate about perfecting a way to retrieve this intrinsic component of myself, and nurture it in my students and peers.
Here I present some of the earliest artworks I made (as a teenager) and latest ones, created over the past two years during my postdoc in Kiel as I fumble to reconnect with the scient(art)ist within me.
Haikus are short simple poems about nature. They are originally from Japan and consist of three phrases, 17 syllables (by English influence), structured in a 5, 7, 5 pattern. The first two phrases give rise to the ordinary, the third (and final) line highlights the extraordinary. Most of my artworks are accompanied by a haiku.
Instagram: @angela_adoba_maya
Motivation:
As children we listen to our inner self, our intuition and only do what feels right and makes us happy. As adults, this becomes more difficult. Art has helped me navigate life like a child and the process I use to create it gives way to a deeply reflective moment, preventing conscious intervention and providing the necessary silence to make sense of everyday life.
From the beginning, I loved drawing and exploring nature, but most of all, I treasured learning. I grew up in a small village by the St-Lawrence Estuary, in Quebec, Canada; the estuary, its tributaries and forests were always just foot steps away. It was a perfect classroom that equally balanced all of these aspects that I loved: the changing tides and seasons brought in new and interesting animals every day. It fed my curiosity, so I beach combed incessantly, and this is how I learned about the life that existed there.
I was too young to write about it as I do now in academia, so I documented my findings via drawings, paintings, even sculptures. And because of this, I formally entered the world of natural sciences fully embracing Einstein's sentiment about the need for imagination, intuition, creativity, and play in science. I mean, for example, I had put this notion into practice for the first 18 years of my life so it was truly well ingrained in me by the time I started my undergraduate studies. But here I was faced with a different reality – in which art and science were more separate than I had imagined.
Because art is an expression of thoughts and emotions, its product is a window into how the artist experiences their world. Drawn and painted over nearly two decades (i.e. high school student to now, a postdoc), my artworks offer a retrospective review of my mindset and relationship with science at various stages of my academic journey. While it is evident that through the formal scientific training I received, I was able to hone the necessary technical skills, it is also clear, looking back at these images, that at times, this training did not achieve the same for my creativity and curiosity. In Stevenson 2021, I showcase that artwork and explore the idea that artistic technique and scientific discovery are unified at their core as products of creativity. For over a decade, I have remained passionate about perfecting a way to retrieve this intrinsic component of myself, and nurture it in my students and peers.
Here I present some of the earliest artworks I made (as a teenager) and latest ones, created over the past two years during my postdoc in Kiel as I fumble to reconnect with the scient(art)ist within me.
Haikus are short simple poems about nature. They are originally from Japan and consist of three phrases, 17 syllables (by English influence), structured in a 5, 7, 5 pattern. The first two phrases give rise to the ordinary, the third (and final) line highlights the extraordinary. Most of my artworks are accompanied by a haiku.
Sweet sixteen
Pencil crayon drawing jungle scene made for a friend’s sixteenth birthday. Media: pencil crayon on paper. The hues and contrasts are representative of how my teenage mind perceived life: mostly through colours I witnessed in nature.
Billabong
Zebras at a watering hole. A gift to my parents, for no particular reason. As a teenager I was addicted to coloring and painting. This version of myself could effortlessly escape reality and let myself be consumed by the visceral joy I felt from the polychrome around me. Media: acrylic on chipboard canvas.
Birds of paradise
My artistic process is the complete opposite to my scientific one – it is unstructured, unplanned, and without rules. I let my mind wander and place no restrictions on the media and tools that I use. Eventually an end product is realized that I never knew existed inside me. It is truly liberating! For example, in the past year, birds of paradise have been appearing in several of my artworks. They featured in many of the childhood stories I imagined and wrote, but I haven’t thought of them for over a decade. I am not sure why they have resurfaced now.
Media: water colour, ink, pencil crayon on paper
Accompanying haiku:
Extravagant plumes
Spectacular dance and song
Selects her fine mate
Media: water colour, ink, pencil crayon on paper
Accompanying haiku:
Extravagant plumes
Spectacular dance and song
Selects her fine mate
Tropical bird meets savanna giraffe
Media: water colour and chalk paint, ink, pencil crayon on paper
Carnivorous glass sponge
Media: water colour and chalk paint, ink on paper.
Accompanying haiku, which also describes the artwork well:
Most filter microbes
Whereas you snare large prey
With glass harpoons
Accompanying haiku, which also describes the artwork well:
Most filter microbes
Whereas you snare large prey
With glass harpoons
Clione limacina
Media: water colour and chalk paint, ink, pencil crayon on paper.
Haiku:
Tiny “sea angel”
Callous killer in disguise
Hooks devour prey whole
Haiku:
Tiny “sea angel”
Callous killer in disguise
Hooks devour prey whole
Japanese pufferfish
Media: water colour paint, ink, pencil crayon on paper.
Haiku:
Plough sand and shells
Into circles and ridges
A female arrives
Haiku:
Plough sand and shells
Into circles and ridges
A female arrives
Old bark
The protective and well-seasoned bark of an old tree. I draw a lot of my inspiration from every facet of nature, microscopic to whole organisms.
Media: water colour paint and ink on paper.
Media: water colour paint and ink on paper.
Plankton eddies
Ocean currents move in a specific direction, but not from the perspective of plankton. They are turbulent and cause them to swirl. Here’s a doodle that can help you experience just that.
Media: water colour paint and ink on paper.
Media: water colour paint and ink on paper.
Mesophotic ecosystems
Mesophotic depths are deep, dark, seemingly cold, but this is not representative of the vibrant and colourful habitats that exist here, like this grandiose mesophotic coral.
Media: ink, acrylic and water colour paint on paper.
Accompanying haiku called, “Tempo of a coral reef”:
Snap! Mantis shrimp feeds
Fish nibbles, crinoid dances
Night falls, reef sharks patrol
Media: ink, acrylic and water colour paint on paper.
Accompanying haiku called, “Tempo of a coral reef”:
Snap! Mantis shrimp feeds
Fish nibbles, crinoid dances
Night falls, reef sharks patrol
Mariana Hill-Cruz
Drawings and PhotographyMariana Hill-Cruz
Mariana Hill-Cruz
Mariana Hill-Cruz
Vollbild
Instagram: @oceanlizard_mhc
Personal website: https://oceanlizard.wordpress.com/
I am Mariana, a doctoral researcher at the biogeochemical modelling group at GEOMAR, focusing on the interface between physical-biogeochemical models and higher trophic levels such as fish. I studied marine science at the University of Western Australia and then a Master's in Biological Oceanography at GEOMAR and Kiel University.
The interactions between animals and the environment has fascinated me since I was in high school. The first time that I considered studying oceanography was during a Bachelor's course where we learnt about how winds drive the water circulation in the ocean and this then brings nutrients to certain regions where we suddenly find an explosion of animal life. The possibility to understand something as complex as the distribution of animals with something as elegant as physics was like finding the key to a hidden world of secrets.
I like to think that having an artistic sense has had a positive impact on my academic life, for example, when it comes to paying attention to details. I enjoy making posters and slides for presentations in a visually appealing way and I feel that this makes the presentations more pleasant for my audience. I also make more sophisticated diagrams every now and then with some vector editing software and this has been very useful for communicating my research.
Personal website: https://oceanlizard.wordpress.com/
I am Mariana, a doctoral researcher at the biogeochemical modelling group at GEOMAR, focusing on the interface between physical-biogeochemical models and higher trophic levels such as fish. I studied marine science at the University of Western Australia and then a Master's in Biological Oceanography at GEOMAR and Kiel University.
The interactions between animals and the environment has fascinated me since I was in high school. The first time that I considered studying oceanography was during a Bachelor's course where we learnt about how winds drive the water circulation in the ocean and this then brings nutrients to certain regions where we suddenly find an explosion of animal life. The possibility to understand something as complex as the distribution of animals with something as elegant as physics was like finding the key to a hidden world of secrets.
I like to think that having an artistic sense has had a positive impact on my academic life, for example, when it comes to paying attention to details. I enjoy making posters and slides for presentations in a visually appealing way and I feel that this makes the presentations more pleasant for my audience. I also make more sophisticated diagrams every now and then with some vector editing software and this has been very useful for communicating my research.
Drawings
I have been drawing all my life. I started with colour pencils, crayons and paintings as any other kid. When I was a teenager, I learnt Chinese ink and, during my Bachelor's studies, I started to draw more with pen than pencil. Back then, I was drawing with ballpen, which can be handled similarly to a pencil. However, after breaking a couple of ballpoint pens, I decided to get a gel pen. This kind of pen is very similar to the Chinese ink stylograph in the sense that it is impossible to make shadings with it. Therefore, I use two main techniques in order to draw figures with volume: pointillism, which produces impressive results but it's very time consuming, and lines, which is somehow faster but I've found it way more difficult to master.Nowadays time does not allow me to draw regularly anymore. Depending on the technique, a pen drawing can take me from 2 hours to a whole night and, sometimes, even weeks. Therefore, I mainly draw when I want to give a special present to someone, for example, for a birthday or Christmas.
Mio
This drawing is the dog of one of my best friends during the Master's. I drew it as a Christmas present.
Rhino
This
one was a birthday present for a very special friend. The frontal
position of the rhinoceros is quite challenging so I used the
pointillism technique to have optimal control of the shading.
Vaquita
A
farewell present for a friend when she left to do her PhD somewhere
else. I picked the vaquita because we did a marine degree together and
because it is an emblematic cetacean of Mexico, my home country.
Rider on a horse
This
drawing is a copy of a photo that my mum took of my beloved horse and
myself. I gave the drawing to her as a present. Drawing humans is a
difficult task for me and drawing a human on a horse was a huge
challenge. I was especially lost when I had to fill the face of the
rider with dots. Then I imagined that I was putting makeup on her face
and that helped a lot to solve the problem.
Hamburgo
This is one of those picture that I take with my phone during a casual walk by the city. I tried to highlight the cloudy weather of Northern Germany that I like so much.
Kelpies
The kelpies are mythical horses that live in lakes and drown people who dared to ride them. I took these two giant head sculptures in Glasgow and I tried to emphasise the size of the sculptures as well as the sunny but cold atmosphere of that day in winter.
Golden field
One of the most impressive things for me since I arrived to Germany was the cropping fields in the countryside. They look like the green hills of a fairy tale and I never imagined that such places actually existed. The place where I grew up is covered with mountains around 3 thousand meters high and the ecosystem is very different. Instead of green fields covered in grass, we have plenty of lava, black sand, spiky plants and perennial trees. Therefore, so many years later I still get impressed every time I see the soft fields of Northern Germany. This photo was actually taken in autumn so the field is not particularly green and I like a lot the contrast of the golden ground with the stormy silver sky. It's a landscape that brings me a very nice mixture of happiness and nostalgia.
Harz
This lake landscape in the Harz was originally just a casual photo to remember the trip. Later on I decided to edit it and I loved the painting-like view that it took.
Seagul
This is my most recent photo. I had been looking at the seagull in Schilksee Strand for a while and, when she suddenly dived into the water to catch a crab, I could just blame myself for not having the camera on my hands. However, I managed to shoot a picture of her while she was stretching after having eaten the crab. I went pretty far with the editing of this photo. I always wanted to make a picture like the black and white swans that are so common on the web. I didn't get a swan but I am super proud of my seagull.
Alexandra Hahn
Alexandra Hahn
Alexandra Hahn
Vollbild
Instagram: @ale.x.hahn
Zurzeit studiere ich Biological Oceanography am Geomar und möchte auch in Zukunft in der Meeresforschung bleiben, um zum Verständnis mariner Prozesse und Ökosysteme beizutragen.
Ich ziehe Inspiration aus den Dingen, die mich begeistern und mit denen ich im Studium in Kontakt komme. Kunst ist hierbei sowohl ein kreativer Ausgleich, als auch eine Brücke zwischen zwei Welten.
Und natürlich auch ein Weg meine Faszination nach außen zu tragen und hoffentlich bei Außenstehenden das Interesse and meeresbezogenen Themen zu wecken.
At the moment, I am studying Biological Oceanography at Geomar and for my later life, I plan on staying in science to contribute to our understanding of marine processes and ecosystems.
I draw inspiration from things that catch my attention during my day to day life. For me, art is both art creative counterpart to studying as well as a bridge between two different worlds.
And of course, it is a way of communicating my fascination and sharing it with the outside - and maybe spark their interest in marine-related topics.
Zurzeit studiere ich Biological Oceanography am Geomar und möchte auch in Zukunft in der Meeresforschung bleiben, um zum Verständnis mariner Prozesse und Ökosysteme beizutragen.
Ich ziehe Inspiration aus den Dingen, die mich begeistern und mit denen ich im Studium in Kontakt komme. Kunst ist hierbei sowohl ein kreativer Ausgleich, als auch eine Brücke zwischen zwei Welten.
Und natürlich auch ein Weg meine Faszination nach außen zu tragen und hoffentlich bei Außenstehenden das Interesse and meeresbezogenen Themen zu wecken.
At the moment, I am studying Biological Oceanography at Geomar and for my later life, I plan on staying in science to contribute to our understanding of marine processes and ecosystems.
I draw inspiration from things that catch my attention during my day to day life. For me, art is both art creative counterpart to studying as well as a bridge between two different worlds.
And of course, it is a way of communicating my fascination and sharing it with the outside - and maybe spark their interest in marine-related topics.
Über meine Kunst
Schon von klein auf liebte ich es, Meerestiere zu malen. Die Faszination für den Ozean und seine Lebewesen wurde zu meinem kleinen Universum.
Auch Jahre später schien es mir passend, verschiedene Wasserbewohner mit der Weite des Sternenhimmels zu kombinieren.
Und sagt man nicht immer, dass die Meere so unerforscht und voller Geheimnisse sind, wie das Weltall?
About my artwork
Ever since I was a child, I loved painting sea creatures. The fascination for the ocean and its organisms became my little universe.
Years later, it still seemed fitting to combine different water dwellers with the infinity of the night sky.
And isn't it said that the ocean is as unexplored and full of secrets as outer space?
Auch Jahre später schien es mir passend, verschiedene Wasserbewohner mit der Weite des Sternenhimmels zu kombinieren.
Und sagt man nicht immer, dass die Meere so unerforscht und voller Geheimnisse sind, wie das Weltall?
About my artwork
Ever since I was a child, I loved painting sea creatures. The fascination for the ocean and its organisms became my little universe.
Years later, it still seemed fitting to combine different water dwellers with the infinity of the night sky.
And isn't it said that the ocean is as unexplored and full of secrets as outer space?
Rita Erven
EmotionenRita Erven
Rita Erven
Rita Erven
Vollbild
Online
https://www.painting-photography.de
Instagram:
@erven.rita
1966 geboren in Langerwehe, in der Nähe von Aachen 1986 – 94 // Studium Grafik-Design in Krefeld und seit 1988 in Kiel (Muthesius-Kunsthochschule) 1994 bis 2013 // freiberufliche Arbeit als Grafik-Designerin seit 2013 // Grafik-Designerin am GEOMAR Helmholtz-Zentrum für Ozeanforschung Kiel
2004 // Katalogförderung des Landes Schleswig-Holstein 2008 // Finalistin »ZVAB-Phönix« 2011 // Kunst am Bau: Gemälde für die Gemeinschaftsschule Kappeln 2011 bis 2014 // Atelier im Atelierhaus im Anscharpark
Bilder im Verleih der Stadtbilderei Kiel, im Besitz der Investitionsbank Schleswig-Holstein und der HSH Nordbank
Zur Malerei
Im Kern meiner gesamten Malerei steht das Thema der Sehnsucht. Die grossen Menschendarstellungen, die ich zuerst gemalt habe, zeigten Menschen, die sich weg vom Jetzt sehnten: es ging immer um das Leben schlechthin, all das, was auf den Bildern nicht zu sehen ist, das wonach man sich sehnt, wohin man sich sehnt, aber niemals erreichen kann. Ein Nebeneinander von Menschen und ihre sinnlosen Bemühungen miteinander in Kontakt zu treten, die doch immer an der Oberfläche bleiben, jeder dann doch gefangen in seinen Problemen und seinem Alltag.
Die »Treescapes« der letzten Jahre bringen es vielleicht noch mehr auf den Punkt. Die Sehnsucht nach warmen Sommerabenden, nach Natur, nach Wärme, nach Freiheit. Aber auch nach Vergangenem, Erinnerungen, Kindheit. Immer geht es auch um ein neben sich und seinem Leben stehen, die Vergänglichkeit spüren und den Abgrund unter dem Eis, über das man läuft und so tut, als gäbe es ihn nicht. Das Betrachten das eigenen Selbst aus der Perpektive des Beobachters, das Gefühl des Verrinnens von Zeit im Zeitraffer und das plötzliche Erschrecken darüber. Und diese Sehnsucht, die Zeit anzuhalten für einen endlosen Moment, die wird dann zum Bild.
Ausstellungen (Auswahl)
2001 // Finanzministerium Schleswig-Holstein, Kiel (m. Elmar Jacob) 2002 // Museum für Kunst und Geschichte, Kaliningrad // »Landesschau Schleswig-Holstein«, Neumünster 2003 // »Nord Art 2003«, Büdelsdorf // »Kunst in die Staatskanzlei II«, Kiel // Bürgergalerie Neumünster (Einzelausstellung) 2005 // Galerie Kunstraum B, Kiel (mit Dieter Ohlhaver) // »Zeichnung«, Brunswiker Pavillon, Kiel 2006 // Papierfabrik, Neumünster 2007 // Wirtschaftsministerium des Landes SH, Kiel (mit Holger Stöhrmann) // Kunsthaus Müllers, Rendsburg (mit Hilmar Habeck) // Investitionsbank Schleswig-Holstein, Kiel (mit Susan Walke) 2008 // galerie unartic, Kiel (Einzelausstellung) 2009 // »Kunst in Neumünster«, Alte Holstenbrauerei 2010 // Kunstraum B Exilgalerie, Kiel (Einzelausstellung) // Kunstkreis Preetz (mit Giotto Bente) // HSH Nordbank, Hamburg 2011 // Auswahl-Ausstellung des Lucas-Cranach-Preises, Kronach 2012 // Bunker D, Kiel (Einzelausstellung) // BBK Sachsen-Anhalt, Merseburg 2013 // Landesbibliothek, Kiel // Atelierhaus im Anscharpark, Kiel (Einzelausstellung) 2014 // »Anhängsel«, konnektor – Forum für Künste, Hannover 2016 // »We will see«, konnektor – Forum für Künste, Hannover // Landesschau Schleswig-Holstein, Stadtgalerie Kiel
2019 // »Frieden« Ausstellung St. Jürgen Kiel
https://www.painting-photography.de
Instagram:
@erven.rita
1966 geboren in Langerwehe, in der Nähe von Aachen 1986 – 94 // Studium Grafik-Design in Krefeld und seit 1988 in Kiel (Muthesius-Kunsthochschule) 1994 bis 2013 // freiberufliche Arbeit als Grafik-Designerin seit 2013 // Grafik-Designerin am GEOMAR Helmholtz-Zentrum für Ozeanforschung Kiel
2004 // Katalogförderung des Landes Schleswig-Holstein 2008 // Finalistin »ZVAB-Phönix« 2011 // Kunst am Bau: Gemälde für die Gemeinschaftsschule Kappeln 2011 bis 2014 // Atelier im Atelierhaus im Anscharpark
Bilder im Verleih der Stadtbilderei Kiel, im Besitz der Investitionsbank Schleswig-Holstein und der HSH Nordbank
Zur Malerei
Im Kern meiner gesamten Malerei steht das Thema der Sehnsucht. Die grossen Menschendarstellungen, die ich zuerst gemalt habe, zeigten Menschen, die sich weg vom Jetzt sehnten: es ging immer um das Leben schlechthin, all das, was auf den Bildern nicht zu sehen ist, das wonach man sich sehnt, wohin man sich sehnt, aber niemals erreichen kann. Ein Nebeneinander von Menschen und ihre sinnlosen Bemühungen miteinander in Kontakt zu treten, die doch immer an der Oberfläche bleiben, jeder dann doch gefangen in seinen Problemen und seinem Alltag.
Die »Treescapes« der letzten Jahre bringen es vielleicht noch mehr auf den Punkt. Die Sehnsucht nach warmen Sommerabenden, nach Natur, nach Wärme, nach Freiheit. Aber auch nach Vergangenem, Erinnerungen, Kindheit. Immer geht es auch um ein neben sich und seinem Leben stehen, die Vergänglichkeit spüren und den Abgrund unter dem Eis, über das man läuft und so tut, als gäbe es ihn nicht. Das Betrachten das eigenen Selbst aus der Perpektive des Beobachters, das Gefühl des Verrinnens von Zeit im Zeitraffer und das plötzliche Erschrecken darüber. Und diese Sehnsucht, die Zeit anzuhalten für einen endlosen Moment, die wird dann zum Bild.
Ausstellungen (Auswahl)
2001 // Finanzministerium Schleswig-Holstein, Kiel (m. Elmar Jacob) 2002 // Museum für Kunst und Geschichte, Kaliningrad // »Landesschau Schleswig-Holstein«, Neumünster 2003 // »Nord Art 2003«, Büdelsdorf // »Kunst in die Staatskanzlei II«, Kiel // Bürgergalerie Neumünster (Einzelausstellung) 2005 // Galerie Kunstraum B, Kiel (mit Dieter Ohlhaver) // »Zeichnung«, Brunswiker Pavillon, Kiel 2006 // Papierfabrik, Neumünster 2007 // Wirtschaftsministerium des Landes SH, Kiel (mit Holger Stöhrmann) // Kunsthaus Müllers, Rendsburg (mit Hilmar Habeck) // Investitionsbank Schleswig-Holstein, Kiel (mit Susan Walke) 2008 // galerie unartic, Kiel (Einzelausstellung) 2009 // »Kunst in Neumünster«, Alte Holstenbrauerei 2010 // Kunstraum B Exilgalerie, Kiel (Einzelausstellung) // Kunstkreis Preetz (mit Giotto Bente) // HSH Nordbank, Hamburg 2011 // Auswahl-Ausstellung des Lucas-Cranach-Preises, Kronach 2012 // Bunker D, Kiel (Einzelausstellung) // BBK Sachsen-Anhalt, Merseburg 2013 // Landesbibliothek, Kiel // Atelierhaus im Anscharpark, Kiel (Einzelausstellung) 2014 // »Anhängsel«, konnektor – Forum für Künste, Hannover 2016 // »We will see«, konnektor – Forum für Künste, Hannover // Landesschau Schleswig-Holstein, Stadtgalerie Kiel
2019 // »Frieden« Ausstellung St. Jürgen Kiel
Wo denkst du hin 1_1
Wo denkst du hin 1_2
Wo denkst du hin 1_3
Wo denkst du hin 2_1
Wo denkst du hin 2_2
Wo denkst du hin 2_3
Stranger than paradise 1
Stranger than paradise 2
Stranger than paradise 3
Wissenschaftlerin
Henrike Gesa Timm
Henrike Gesa Timm
Henrike Gesa Timm
Vollbild
Instagram: @henrike.timm
Anschließend an mein Abitur 2017 in Saarbrücken absolvierte ich mehrere Praktika. Zunächst verfolgte ich meine Begeisterung für die Kunst und ging an das Theater Konstanz. Dort assistierte ich ein halbes Jahr im Bühnen- und Kostümbild. So mitgerissen ich auch vom Theaterkosmos war, so ganz wollte mich der Wunsch nicht loslassen, einen Blick in die Meereswissenschaften zu werfen. Nach einer weiteren Hospitanz am Staatstheater Saarbrücken lernte ich mit meinem letzten Praktikum dann das GEOMAR kennen, ich hörte vom Studiengang "Physik des Erdsystems" an der CAU, und ich bekam das bestimmte Gefühl, genau danach gesucht zu haben.
Mittlerweile steht meine Bachelorarbeit im Bereich der marinen Elektromagnetik an. Am GEOMAR habe ich die letzen zwei Jahre in der Bibliothek am Westufer gearbeitet und seit diesem Jahr bin ich Hiwi in der Marinen Geodynamik.
Auf meine erste Ausfahrt im Sommer 2020 auf der FS Sonne folgt diesen Herbst eine weitere mit MSM103. Ob ich ein Bühnenbildstudium vermisse? Kaum, denn auch jetzt zeichne und male ich noch, sogar auf hoher See. Außerdem, es zeigen sich erstaunliche Parallelen zwischen einer Theaterproduktion und einer Forschungsausfahrt.
After my Abitur in Saarbruecken 2017, I did several internships. First I complyed with my excitement for art and moved to Konstanz, where I assisted at the theatre in costume and stage design for six months. However, I were not able to forget my wish to get somehow an insight into marine sciences. After a further internship at Staatstheater Saarbruecken, finally I had the opportunity to get to know the GEOMAR with my last one. I learned about the course „Physics of the Earth System“ at Kiel University and the feeling grew that I actually have found what I was looking for.
Now my bachelor thesis in marine electromagnetics approaches already. At GEOMAR, I worked two years at the Library West Shore and since the beginning of this year, I am Hiwi in the research unit Marine Geodynamics.
I attended a first research cruise in summer 2020 at RV Sonne and it is followed now by a second one with MSM103. Am I missing studies in costume and stage design? Rather not, I still draw and paint, even on the high sea. Anyway, there are surprising similarities between a stage poduction and a research cruise.
"...was hat dich bewogen, diese bestimmten Bilder auszuwählen?..."
Ich habe mich dazu entschieden zwei ganz frische Zeichnungen zu zeigen. In letzter Zeit benutze ich besonders gern Pastellkreide. Die intensiven Pigmente, die direkt mit den Händen auf dem Papier bearbeitet werden können, bereiten viel Freude während des Entstehungsprozesses. Dieser ist für mich von großer Bedeutung, Zeichnen hat etwas Meditatives, ich bin höchst fokussiert und kann gleichzeitig sehr gut entspannen und meine Gedanken sortieren. Seit einigen Jahren zeichne ich immer öfter Elemente aus meiner unmittelbaren Umgebung. Vor der Pandemie waren das viele Menschen, vom Theater, oder aus dem Alltag. Die letzten Monate habe ich hingegen vor allem meinen Zimmerpflanzen auf der Fensterbank beim Wachsen zugucken können. Diese zwei sind meine ersten Pastellzeichnungen von so großem Format. In der Größe konnte ich dem Wechsel zwischen Licht, Schatten und von der Sonne durchleuchteten Blättern viel Raum geben. Die Kaffeepflanze begleitet mich tapfer schon mein ganzes bisheriges Studium, passend zum Bachelorabschluss könnte sie blühen und erste Kaffebohnen bekommen.
I decided to show you two very new drawings. The last while, I am using pastels a lot, the intensive pigments applyed by the bare hands are great fun during the process of formation. The process is quite important to me, to draw is some kind of meditation, I am higly focused but at the same time most relaxed and able to clear up my thoughts. Since a few years, I tend to draw more often elements from my direct environment. Pre-pandemic those were people, e.g. from theatre, or from daily life. However, the last months I mainly watched my home plants grow. The presented pictures are my first two pasteldrawings of such a large size. In this size, I could give the changes between light, shadow and leafs shined through by the sun very much space. The Coffee plant accompanies me bravely over all my semesters so far, just in time for my bachelor thesis it might blossom and grow first coffee beans.
Anschließend an mein Abitur 2017 in Saarbrücken absolvierte ich mehrere Praktika. Zunächst verfolgte ich meine Begeisterung für die Kunst und ging an das Theater Konstanz. Dort assistierte ich ein halbes Jahr im Bühnen- und Kostümbild. So mitgerissen ich auch vom Theaterkosmos war, so ganz wollte mich der Wunsch nicht loslassen, einen Blick in die Meereswissenschaften zu werfen. Nach einer weiteren Hospitanz am Staatstheater Saarbrücken lernte ich mit meinem letzten Praktikum dann das GEOMAR kennen, ich hörte vom Studiengang "Physik des Erdsystems" an der CAU, und ich bekam das bestimmte Gefühl, genau danach gesucht zu haben.
Mittlerweile steht meine Bachelorarbeit im Bereich der marinen Elektromagnetik an. Am GEOMAR habe ich die letzen zwei Jahre in der Bibliothek am Westufer gearbeitet und seit diesem Jahr bin ich Hiwi in der Marinen Geodynamik.
Auf meine erste Ausfahrt im Sommer 2020 auf der FS Sonne folgt diesen Herbst eine weitere mit MSM103. Ob ich ein Bühnenbildstudium vermisse? Kaum, denn auch jetzt zeichne und male ich noch, sogar auf hoher See. Außerdem, es zeigen sich erstaunliche Parallelen zwischen einer Theaterproduktion und einer Forschungsausfahrt.
After my Abitur in Saarbruecken 2017, I did several internships. First I complyed with my excitement for art and moved to Konstanz, where I assisted at the theatre in costume and stage design for six months. However, I were not able to forget my wish to get somehow an insight into marine sciences. After a further internship at Staatstheater Saarbruecken, finally I had the opportunity to get to know the GEOMAR with my last one. I learned about the course „Physics of the Earth System“ at Kiel University and the feeling grew that I actually have found what I was looking for.
Now my bachelor thesis in marine electromagnetics approaches already. At GEOMAR, I worked two years at the Library West Shore and since the beginning of this year, I am Hiwi in the research unit Marine Geodynamics.
I attended a first research cruise in summer 2020 at RV Sonne and it is followed now by a second one with MSM103. Am I missing studies in costume and stage design? Rather not, I still draw and paint, even on the high sea. Anyway, there are surprising similarities between a stage poduction and a research cruise.
"...was hat dich bewogen, diese bestimmten Bilder auszuwählen?..."
Ich habe mich dazu entschieden zwei ganz frische Zeichnungen zu zeigen. In letzter Zeit benutze ich besonders gern Pastellkreide. Die intensiven Pigmente, die direkt mit den Händen auf dem Papier bearbeitet werden können, bereiten viel Freude während des Entstehungsprozesses. Dieser ist für mich von großer Bedeutung, Zeichnen hat etwas Meditatives, ich bin höchst fokussiert und kann gleichzeitig sehr gut entspannen und meine Gedanken sortieren. Seit einigen Jahren zeichne ich immer öfter Elemente aus meiner unmittelbaren Umgebung. Vor der Pandemie waren das viele Menschen, vom Theater, oder aus dem Alltag. Die letzten Monate habe ich hingegen vor allem meinen Zimmerpflanzen auf der Fensterbank beim Wachsen zugucken können. Diese zwei sind meine ersten Pastellzeichnungen von so großem Format. In der Größe konnte ich dem Wechsel zwischen Licht, Schatten und von der Sonne durchleuchteten Blättern viel Raum geben. Die Kaffeepflanze begleitet mich tapfer schon mein ganzes bisheriges Studium, passend zum Bachelorabschluss könnte sie blühen und erste Kaffebohnen bekommen.
I decided to show you two very new drawings. The last while, I am using pastels a lot, the intensive pigments applyed by the bare hands are great fun during the process of formation. The process is quite important to me, to draw is some kind of meditation, I am higly focused but at the same time most relaxed and able to clear up my thoughts. Since a few years, I tend to draw more often elements from my direct environment. Pre-pandemic those were people, e.g. from theatre, or from daily life. However, the last months I mainly watched my home plants grow. The presented pictures are my first two pasteldrawings of such a large size. In this size, I could give the changes between light, shadow and leafs shined through by the sun very much space. The Coffee plant accompanies me bravely over all my semesters so far, just in time for my bachelor thesis it might blossom and grow first coffee beans.
Coffea
August 2021, Pastellkreide auf Karton, 42 × 59,4 cm (DIN A2)
Dracaena
August 2021, Pastellkreide auf Karton, 42 × 59,4 cm (DIN A2)
Nico Augustin
Nico Augustin
Nico Augustin
Nico Augustin
Vollbild
Instagram: @astrononico, @geolonico
YouTube: Astronico
"These images capture my personal experience in astrophotography and were taken in 2020 and 2021 when I gained enough experience to call myself a serious amateur-astrophotographer with enough confidence. In daylight I am a marine geologist, mainly doing seafloor geomorphology with a strong focus on mid-ocean ridges, preferably in the Red Sea.
During night, when the skies are clear I am astrophotographer, a special kind of nerd that sits outside in the cold dark, swearing into the night about stupid mechanics, malfunctioning software and non-forecasted clouds.
I did photography since I was a kid. I had no idea about photography when I got my first camera but tried all sort of disciplines in photography since then and even almost started training and education to become a professional photographer - different story though. I tried to capture my first images of stars on film in 1995 what worked surprisingly well - at least I saw some stars and a tiny, blury Orion Nebula. When comet Hale Bopp appeared on the night sky in 1997 I tried it again (on film) and was happy about the results. When I got my first digital camera some years later, I was heavily disappointed that astrophotography was working so badly with it but did not bother to find out why. Life changed and priorities moved.
But then there was this one night in November 2017. I don´t remember why, but I spontaneously decided to give astrophotography a new try - maybe a last chance. I was quite happy with my small Samsung NX300 camera at this time (a pity Samsung does not makes cameras anymore) and went out of town to a darker spot, set up the tripod and camera, took a few images and got a bad cold. The images turned out to be barely focused, noisy crap again. But this time I did bother to look up why I can´t get good images of the night sky and learned about the magic of image stacking. That was the start! I luckily took a few more images that night and could try these techniques immediately. And the result was so much better than from one single exposure - far away from being good but encouraging enough to try better.
The following months and years I learned about image acquisition techniques, optics and processing in astrophotography. I tried to spent every clear night outside (something that´s not happening too often in northern Germany) and to photograph as many things in the night sky as possible. The learning curve was steep, results became better and the wishes for better equipment grew. With time I upgraded the standard daylight camera with some dedicated astronomy cameras. I bought different telescopes to image different targets and got a stable mount that can accurately follow the the stars for long exposures. I also automated parts of my equipment so that, once setup and started, I can lean back, relax and monitor what the gear is doing - or wonder about whats wrong this time.
I tried many different targets: starry landscapes, milky way shots, wide field images of emission and reflection nebulae and supernova remnants, deep space images of galaxies and planetary nebulae and of course the moon, the sun, comets and the planets. All of these targets require different techniques in hard- and software and some bring the equipment and the photographer at its limits - making you thinking how to do better next time. All that makes astrophotography so versatile. I am still at the beginning of this journey and very limited by the weather conditions here in the north. Nevertheless, I have many future projects in mind when the weather allows it. Astrophotography teaches about patience. And freezing… And in my opinion it is the hardest photography and truly Black Art."
"Diese Bilder zeigen meine persönlichen Erfahrungen in der Astrofotografie und wurden in den Jahren 2020 und 2021 aufgenommen, als ich genug Erfahrung gesammelt hatte, um mich als ernsthaften Amateur-Astrofotografen zu bezeichnen. Bei Tageslicht bin ich Meeresgeologe und beschäftige mich hauptsächlich mit der Geomorphologie des Meeresbodens mit Schwerpunkt auf den mittelozeanischen Rücken, vorzugsweise im Roten Meer.
Nachts, wenn der Himmel klar ist, bin ich Astrofotograf, eine besondere Art von Nerd, der draußen in der kalten Dunkelheit sitzt und in die Nacht hinein über dumme Mechanik, schlecht funktionierende Software und nicht vorhergesagte Wolken flucht.
Ich fotografiere seit meiner Kindheit. Ich hatte keine Ahnung von der Fotografie, als ich meine erste Kamera bekam, aber seitdem habe ich alle möglichen Disziplinen der Fotografie ausprobiert und sogar fast eine Ausbildung zum professionellen Fotografen begonnen - aber das ist eine andere Geschichte. 1995 versuchte ich, meine ersten Bilder von Sternen auf Film zu bannen, was erstaunlich gut gelang - zumindest sah ich einige Sterne und einen winzigen, verschwommenen Orionnebel. Als 1997 der Komet Hale Bopp am Nachthimmel erschien, versuchte ich es erneut (auf Film) und war mit den Ergebnissen zufrieden. Als ich einige Jahre später meine erste Digitalkamera bekam, war ich schwer enttäuscht, dass die Astrofotografie damit so schlecht funktionierte, aber ich machte mir nicht die Mühe herauszufinden, warum. Das Leben änderte sich und die Prioritäten verschoben sich.
Aber dann war da diese eine Nacht im November 2017. Ich weiß nicht mehr, warum, aber ich beschloss spontan, der Astrofotografie einen neuen Versuch zu geben - vielleicht eine letzte Chance. Ich war zu diesem Zeitpunkt mit meiner kleinen Samsung NX300 Kamera recht zufrieden (schade, dass Samsung keine Kameras mehr herstellt) und ging aus der Stadt hinaus an einen dunkleren Ort, baute das Stativ und die Kamera auf, machte ein paar Bilder und bekam eine schlimme Erkältung. Die Bilder entpuppten sich wieder als kaum fokussierter, verrauschter Mist. Aber diesmal machte ich mir die Mühe, nachzuschauen, warum ich keine guten Bilder vom Nachthimmel machen kann, und erfuhr etwas über die Magie des Image Stacking. Das war der Anfang! Glücklicherweise machte ich in dieser Nacht noch ein paar weitere Bilder und konnte diese Techniken sofort ausprobieren. Und das Ergebnis war so viel besser als bei einer einzigen Aufnahme - weit davon entfernt, gut zu sein, aber ermutigend genug, um es besser zu versuchen.
In den folgenden Monaten und Jahren lernte ich viel über Bildaufnahmetechniken, Optik und Verarbeitung in der Astrofotografie. Ich versuchte, jede klare Nacht draußen zu verbringen (was in Norddeutschland nicht allzu oft vorkommt) und so viele Dinge am Nachthimmel wie möglich zu fotografieren. Die Lernkurve war steil, die Ergebnisse wurden besser und der Wunsch nach besserer Ausrüstung wuchs. Mit der Zeit rüstete ich die Standard-Tageslichtkamera mit einigen speziellen Astronomie-Kameras auf. Ich kaufte verschiedene Teleskope, um verschiedene Ziele abzubilden, und besorgte mir eine stabile Montierung, mit der ich die Sterne bei Langzeitbelichtungen genau verfolgen kann. Außerdem habe ich Teile meiner Ausrüstung automatisiert, so dass ich mich nach dem Einrichten und Starten entspannt zurücklehnen und beobachten kann, was die Ausrüstung macht - oder mich fragen kann, was dieses Mal nicht stimmt.
Ich habe viele verschiedene Ziele ausprobiert: Sternenlandschaften, Aufnahmen der Milchstraße, Weitwinkelaufnahmen von Emissions- und Reflexionsnebeln und Supernova-Überresten, Deep Space-Aufnahmen von Galaxien und planetarischen Nebeln und natürlich Mond, Sonne, Kometen und Planeten. All diese Ziele erfordern unterschiedliche Techniken in Hard- und Software, und einige bringen die Ausrüstung und den Fotografen an ihre Grenzen - was dazu führt, dass man überlegt, wie man es beim nächsten Mal besser machen kann. All das macht die Astrofotografie so vielseitig. Ich stehe noch am Anfang dieser Reise und bin durch die Wetterbedingungen hier im Norden sehr eingeschränkt. Trotzdem habe ich viele zukünftige Projekte im Kopf, wenn das Wetter es zulässt. Astrofotografie lehrt Geduld. Und das Erfrieren... Und meiner Meinung nach ist es die härteste Fotografie und wahrhaftig Schwarze Kunst."
YouTube: Astronico
"These images capture my personal experience in astrophotography and were taken in 2020 and 2021 when I gained enough experience to call myself a serious amateur-astrophotographer with enough confidence. In daylight I am a marine geologist, mainly doing seafloor geomorphology with a strong focus on mid-ocean ridges, preferably in the Red Sea.
During night, when the skies are clear I am astrophotographer, a special kind of nerd that sits outside in the cold dark, swearing into the night about stupid mechanics, malfunctioning software and non-forecasted clouds.
I did photography since I was a kid. I had no idea about photography when I got my first camera but tried all sort of disciplines in photography since then and even almost started training and education to become a professional photographer - different story though. I tried to capture my first images of stars on film in 1995 what worked surprisingly well - at least I saw some stars and a tiny, blury Orion Nebula. When comet Hale Bopp appeared on the night sky in 1997 I tried it again (on film) and was happy about the results. When I got my first digital camera some years later, I was heavily disappointed that astrophotography was working so badly with it but did not bother to find out why. Life changed and priorities moved.
But then there was this one night in November 2017. I don´t remember why, but I spontaneously decided to give astrophotography a new try - maybe a last chance. I was quite happy with my small Samsung NX300 camera at this time (a pity Samsung does not makes cameras anymore) and went out of town to a darker spot, set up the tripod and camera, took a few images and got a bad cold. The images turned out to be barely focused, noisy crap again. But this time I did bother to look up why I can´t get good images of the night sky and learned about the magic of image stacking. That was the start! I luckily took a few more images that night and could try these techniques immediately. And the result was so much better than from one single exposure - far away from being good but encouraging enough to try better.
The following months and years I learned about image acquisition techniques, optics and processing in astrophotography. I tried to spent every clear night outside (something that´s not happening too often in northern Germany) and to photograph as many things in the night sky as possible. The learning curve was steep, results became better and the wishes for better equipment grew. With time I upgraded the standard daylight camera with some dedicated astronomy cameras. I bought different telescopes to image different targets and got a stable mount that can accurately follow the the stars for long exposures. I also automated parts of my equipment so that, once setup and started, I can lean back, relax and monitor what the gear is doing - or wonder about whats wrong this time.
I tried many different targets: starry landscapes, milky way shots, wide field images of emission and reflection nebulae and supernova remnants, deep space images of galaxies and planetary nebulae and of course the moon, the sun, comets and the planets. All of these targets require different techniques in hard- and software and some bring the equipment and the photographer at its limits - making you thinking how to do better next time. All that makes astrophotography so versatile. I am still at the beginning of this journey and very limited by the weather conditions here in the north. Nevertheless, I have many future projects in mind when the weather allows it. Astrophotography teaches about patience. And freezing… And in my opinion it is the hardest photography and truly Black Art."
"Diese Bilder zeigen meine persönlichen Erfahrungen in der Astrofotografie und wurden in den Jahren 2020 und 2021 aufgenommen, als ich genug Erfahrung gesammelt hatte, um mich als ernsthaften Amateur-Astrofotografen zu bezeichnen. Bei Tageslicht bin ich Meeresgeologe und beschäftige mich hauptsächlich mit der Geomorphologie des Meeresbodens mit Schwerpunkt auf den mittelozeanischen Rücken, vorzugsweise im Roten Meer.
Nachts, wenn der Himmel klar ist, bin ich Astrofotograf, eine besondere Art von Nerd, der draußen in der kalten Dunkelheit sitzt und in die Nacht hinein über dumme Mechanik, schlecht funktionierende Software und nicht vorhergesagte Wolken flucht.
Ich fotografiere seit meiner Kindheit. Ich hatte keine Ahnung von der Fotografie, als ich meine erste Kamera bekam, aber seitdem habe ich alle möglichen Disziplinen der Fotografie ausprobiert und sogar fast eine Ausbildung zum professionellen Fotografen begonnen - aber das ist eine andere Geschichte. 1995 versuchte ich, meine ersten Bilder von Sternen auf Film zu bannen, was erstaunlich gut gelang - zumindest sah ich einige Sterne und einen winzigen, verschwommenen Orionnebel. Als 1997 der Komet Hale Bopp am Nachthimmel erschien, versuchte ich es erneut (auf Film) und war mit den Ergebnissen zufrieden. Als ich einige Jahre später meine erste Digitalkamera bekam, war ich schwer enttäuscht, dass die Astrofotografie damit so schlecht funktionierte, aber ich machte mir nicht die Mühe herauszufinden, warum. Das Leben änderte sich und die Prioritäten verschoben sich.
Aber dann war da diese eine Nacht im November 2017. Ich weiß nicht mehr, warum, aber ich beschloss spontan, der Astrofotografie einen neuen Versuch zu geben - vielleicht eine letzte Chance. Ich war zu diesem Zeitpunkt mit meiner kleinen Samsung NX300 Kamera recht zufrieden (schade, dass Samsung keine Kameras mehr herstellt) und ging aus der Stadt hinaus an einen dunkleren Ort, baute das Stativ und die Kamera auf, machte ein paar Bilder und bekam eine schlimme Erkältung. Die Bilder entpuppten sich wieder als kaum fokussierter, verrauschter Mist. Aber diesmal machte ich mir die Mühe, nachzuschauen, warum ich keine guten Bilder vom Nachthimmel machen kann, und erfuhr etwas über die Magie des Image Stacking. Das war der Anfang! Glücklicherweise machte ich in dieser Nacht noch ein paar weitere Bilder und konnte diese Techniken sofort ausprobieren. Und das Ergebnis war so viel besser als bei einer einzigen Aufnahme - weit davon entfernt, gut zu sein, aber ermutigend genug, um es besser zu versuchen.
In den folgenden Monaten und Jahren lernte ich viel über Bildaufnahmetechniken, Optik und Verarbeitung in der Astrofotografie. Ich versuchte, jede klare Nacht draußen zu verbringen (was in Norddeutschland nicht allzu oft vorkommt) und so viele Dinge am Nachthimmel wie möglich zu fotografieren. Die Lernkurve war steil, die Ergebnisse wurden besser und der Wunsch nach besserer Ausrüstung wuchs. Mit der Zeit rüstete ich die Standard-Tageslichtkamera mit einigen speziellen Astronomie-Kameras auf. Ich kaufte verschiedene Teleskope, um verschiedene Ziele abzubilden, und besorgte mir eine stabile Montierung, mit der ich die Sterne bei Langzeitbelichtungen genau verfolgen kann. Außerdem habe ich Teile meiner Ausrüstung automatisiert, so dass ich mich nach dem Einrichten und Starten entspannt zurücklehnen und beobachten kann, was die Ausrüstung macht - oder mich fragen kann, was dieses Mal nicht stimmt.
Ich habe viele verschiedene Ziele ausprobiert: Sternenlandschaften, Aufnahmen der Milchstraße, Weitwinkelaufnahmen von Emissions- und Reflexionsnebeln und Supernova-Überresten, Deep Space-Aufnahmen von Galaxien und planetarischen Nebeln und natürlich Mond, Sonne, Kometen und Planeten. All diese Ziele erfordern unterschiedliche Techniken in Hard- und Software, und einige bringen die Ausrüstung und den Fotografen an ihre Grenzen - was dazu führt, dass man überlegt, wie man es beim nächsten Mal besser machen kann. All das macht die Astrofotografie so vielseitig. Ich stehe noch am Anfang dieser Reise und bin durch die Wetterbedingungen hier im Norden sehr eingeschränkt. Trotzdem habe ich viele zukünftige Projekte im Kopf, wenn das Wetter es zulässt. Astrofotografie lehrt Geduld. Und das Erfrieren... Und meiner Meinung nach ist es die härteste Fotografie und wahrhaftig Schwarze Kunst."
Vita
Wanxuan (Ben) Yao
Wanxuan Ben Yao
Wanxuan Ben Yao
Vollbild
Instagram: @ben.xuan.33
I am Wanxuan (Ben) Yao. I am a doctoral researcher in the biogeochemical modeling group, and my research is investigate the impact of different iron models on our perception of how the marine ecosystem function.
I began painting since I moved to Kiel for the PhD program in GEOMAR. It all started, as I was invited to a symposium as a candidate for the HOSST-TOSST program. There supposed to be a mixer on the rooftop of GEOMAR before the symposium starts. Despite the great sunny and cool weather in a late September day, which is a kind of luxury in the North Germany based on my past experiences, I was not in the place to appreciate it. Filled with anxiety, worrying about my own presentation slides, thinking about how awkward it would be to meet all my current competitors and possible future colleagues in front of the PIs (Bosses).
I think it started with a speech by Colin Devey and Christian Dullo opened the first bottle of beer. There was a loud cruise-ship horn drew my attention during the speech and my eyes accidentally landed on the transparent yet rich, deep, blue, and moving water in the harbor for the first time. That dynamic blue color fascinated me and made me forget about everything else for a moment. Colin’s speech ended, I assume I missed a great speech, because I heard a lot of claps from the nervous candidates. After getting this job, I run to an art supply store and bought my first set of watercolor paints, hoping that one day, I can recreate that splash of blue, during that awkward mixer, from that roof top, under that nice weather, accompanied by the lovely scientists, who later became my friends. The pieces I show here are all created during my PhD period; some are from the good times and some are from the bad times. They captured three important aspects of my PhD life, work, friends/colleagues, and off-time.
I am Wanxuan (Ben) Yao. I am a doctoral researcher in the biogeochemical modeling group, and my research is investigate the impact of different iron models on our perception of how the marine ecosystem function.
I began painting since I moved to Kiel for the PhD program in GEOMAR. It all started, as I was invited to a symposium as a candidate for the HOSST-TOSST program. There supposed to be a mixer on the rooftop of GEOMAR before the symposium starts. Despite the great sunny and cool weather in a late September day, which is a kind of luxury in the North Germany based on my past experiences, I was not in the place to appreciate it. Filled with anxiety, worrying about my own presentation slides, thinking about how awkward it would be to meet all my current competitors and possible future colleagues in front of the PIs (Bosses).
I think it started with a speech by Colin Devey and Christian Dullo opened the first bottle of beer. There was a loud cruise-ship horn drew my attention during the speech and my eyes accidentally landed on the transparent yet rich, deep, blue, and moving water in the harbor for the first time. That dynamic blue color fascinated me and made me forget about everything else for a moment. Colin’s speech ended, I assume I missed a great speech, because I heard a lot of claps from the nervous candidates. After getting this job, I run to an art supply store and bought my first set of watercolor paints, hoping that one day, I can recreate that splash of blue, during that awkward mixer, from that roof top, under that nice weather, accompanied by the lovely scientists, who later became my friends. The pieces I show here are all created during my PhD period; some are from the good times and some are from the bad times. They captured three important aspects of my PhD life, work, friends/colleagues, and off-time.
Combining work with pleasure
1. Combining Work with pleasure
Sometimes a picture is worthy of more than a
thousand words, I believe. Especially when it comes to communication with a
wider range of audience.
A graphic diary of a week-long geological
survey on a volcanic island, “Fogo” in Cape Verde. We were asked to look
for possible landslides on the diverse and breathtaking landscapes and make an
educational display for the locals and tourist to understand the risk of
landslides. The survey was one of my highlights in the PhD program.
A digital paint.
A digital paint.
Around the office
2. Around the office
Personalize it or not, this is going to
be the place where you are going to spend lots of your time. Friendly or not,
these are the people you will talk to maybe more than your own family. Make an
effort :)
3. You’ve got to have a life too
It is easy to be lost in your scientific
work-related problems, and a blockage won’t go away when you just keep banging
your head on it. “Go and have a life!”, said by one of my supervisors.
Jamie Parker
Science and nature punsJamie Parker
Jamie Parker
Jamie Parker
Vollbild
Instagram: @spaghetti_shark_art
Hey! My name is Jamie Parker, I´ve been carrying out my PhD in the Marine Evolutionary Ecology research group at GEOMAR, exploring the evolutionary mysteries that surround the marvel that is male pregnancy in seahorses and pipefish.
Following work with a number of global marine conservation NGOs, the position at GEOMAR was a welcome challenge in a field that I had not yet explored. Marine biology has always been a huge part of my life, even if I was oblivious to its influence at an early age.
As a kid, my first obsession was sharks, followed closely by my second obsession… Drawing sharks. I without doubt have the underwater world to thank for my artistic interests and still to this day animals heavily influence my drawings. Equally, during my academic education I have realised that my creativity plays a huge part in my work life too, whether it's for designing experiments, creating posters or giving presentations.
For me, there is an obvious crossover between art and science, however, I feel there are also restrictions that exist in academia that can limit your artistic license. Beyond these restrictions, where the rules do not apply, is where I produce my favourite artwork. I have always enjoyed incorporating my humour and personality into my pieces, experimenting with new and risky ideas, whilst still using the natural world as my inspiration. I find the process relaxing and it often provides a distraction from the repetitiveness of day to day life.
Over the past year I’ve found a new obsession, designing what can only be described as ‘punimals’ (puns + animals). Every other day I challenge myself to design an organism that could not be further from the forms recognised in science. I get the feeling that disentangling nature's mysteries through my research and chaotically corrupting it with my drawings somehow strikes a bizarre balance. I hope you get as much enjoyment from these drawings as I did, when creating them.
Hey! My name is Jamie Parker, I´ve been carrying out my PhD in the Marine Evolutionary Ecology research group at GEOMAR, exploring the evolutionary mysteries that surround the marvel that is male pregnancy in seahorses and pipefish.
Following work with a number of global marine conservation NGOs, the position at GEOMAR was a welcome challenge in a field that I had not yet explored. Marine biology has always been a huge part of my life, even if I was oblivious to its influence at an early age.
As a kid, my first obsession was sharks, followed closely by my second obsession… Drawing sharks. I without doubt have the underwater world to thank for my artistic interests and still to this day animals heavily influence my drawings. Equally, during my academic education I have realised that my creativity plays a huge part in my work life too, whether it's for designing experiments, creating posters or giving presentations.
For me, there is an obvious crossover between art and science, however, I feel there are also restrictions that exist in academia that can limit your artistic license. Beyond these restrictions, where the rules do not apply, is where I produce my favourite artwork. I have always enjoyed incorporating my humour and personality into my pieces, experimenting with new and risky ideas, whilst still using the natural world as my inspiration. I find the process relaxing and it often provides a distraction from the repetitiveness of day to day life.
Over the past year I’ve found a new obsession, designing what can only be described as ‘punimals’ (puns + animals). Every other day I challenge myself to design an organism that could not be further from the forms recognised in science. I get the feeling that disentangling nature's mysteries through my research and chaotically corrupting it with my drawings somehow strikes a bizarre balance. I hope you get as much enjoyment from these drawings as I did, when creating them.
Punimals I
`Punimals´ - Playing with words and animal forms. Here I have selected a few of my strange marine creature creations. They include film characters, musicians, sports stars and even a pair of risqué shrimp.
Punimals II
Jacqeline Bertlich
Fotos aus Island und SchwedenJacqueline Bertlich
Jacqueline Bertlich
Jacqueline Bertlich
Vollbild
Instagram: @jackybertlich
„Ich bereue nur die Fotos, die ich nicht gemacht habe.“
Als gelernte Geowissenschaftlerin und Paläo-Ozeanographin ist es oft unumgänglich jedes noch so kleine Detail zu berücksichtigen und genauestens zu dokumentieren, um das große Ganze zu verstehen. Daraus entwickelte sich meine größte Leidenschaft – die Fotografie.
Mein Beruf erlaubt es mir an die versteckten, abgelegenen, und wundervollsten Orte der Welt zu reisen. Durch meine Kamera entdecke ich so häufiger das Verborgene und Ungesehene, was mir sonst im Vorbeigehen ebenfalls entgangen wäre. Für mich ist Fotografie die einmalige Chance unsere einzigartige Natur und Umgebung zu dokumentieren, aber auch Veränderungen festzuhalten.
„Ich bereue nur die Fotos, die ich nicht gemacht habe.“
Als gelernte Geowissenschaftlerin und Paläo-Ozeanographin ist es oft unumgänglich jedes noch so kleine Detail zu berücksichtigen und genauestens zu dokumentieren, um das große Ganze zu verstehen. Daraus entwickelte sich meine größte Leidenschaft – die Fotografie.
Mein Beruf erlaubt es mir an die versteckten, abgelegenen, und wundervollsten Orte der Welt zu reisen. Durch meine Kamera entdecke ich so häufiger das Verborgene und Ungesehene, was mir sonst im Vorbeigehen ebenfalls entgangen wäre. Für mich ist Fotografie die einmalige Chance unsere einzigartige Natur und Umgebung zu dokumentieren, aber auch Veränderungen festzuhalten.
Fotos Island
Fotos vonIsland
Schweden
Fotos ausSchweden
See Vänern in Schweden
Sonnenuntergang in Gothenburg
Maike Heinitz
Ölmalerei und MaterialexperimenteMaike Heinitz
Maike Heinitz
Maike Heinitz
Vollbild
Zum Malen bin ich aus Interesse an der Ölmalerei gekommen. Ich wollte lernen, wie die „Ölpaste“ zu einem Bild auf die Leinwand aufgebracht wird. Durch Teilnahme an Volkshochschulkursen wurde meine Neugierde auf das Arbeiten mit Acrylfarbe und die Verbindung mit beiden Farben geweckt.
Immer wieder fasziniert und inspiriert mich Wasser in seinen unterschiedlichen Darstellungsformen und Farben.
In Atelierkursen bei verschiedenen Künstlerinnen hat sich mein Interesse im Umgang mit unterschiedlichen Materialien, wie z.B. Oxidationsmedien und Patinaeffekte entwickelt. Die meisten Werke entstehen bei Treffen mit anderen "Kunstschaffenden“. Letztlich befinde mich laufend im Lernprozess und probiere neues aus.
Immer wieder fasziniert und inspiriert mich Wasser in seinen unterschiedlichen Darstellungsformen und Farben.
In Atelierkursen bei verschiedenen Künstlerinnen hat sich mein Interesse im Umgang mit unterschiedlichen Materialien, wie z.B. Oxidationsmedien und Patinaeffekte entwickelt. Die meisten Werke entstehen bei Treffen mit anderen "Kunstschaffenden“. Letztlich befinde mich laufend im Lernprozess und probiere neues aus.
Nicolás Smith-Sánchez
Aquarell paintings of natureNicolás Smith-Sánchez
Nicolás Smith-Sánchez
Nicolás Smith-Sánchez
Vollbild
Instagram: @nicsmithsan
Hello, my name is Nicolás Smith-Sánchez. I am a Spanish marine biologist currently doing my PhD at GEOMAR, researching the potential ecosystem and food web structure changes that could be induced by Ocean Alkalinization, a nature-based Negative Emissions Technology (NET).
As you might find out if you go through my gallery and read the stories behind each illustration, my studies and work often pour into my art in one way or another. Research gave me the tools to understand a world that fascinated me since I was a child. Back then, kneeling down by the tide pools and overturning rocks, I felt a rush of excitement, of anticipation, for what I might discover. Today I find that this natural passion materializes itself in my drawings.
As I curated the exhibition, I realized each piece provides a small window into different times from the last three years of my life, beginning when I first arrived in Kiel to study my masters in biological oceanography at GEOMAR. In order to give the viewer a thread to follow, I organized the pieces according to the geographical region in which the course or project that inspired them took place: South America, Asia and Europe. I hope you enjoy it.
Hello, my name is Nicolás Smith-Sánchez. I am a Spanish marine biologist currently doing my PhD at GEOMAR, researching the potential ecosystem and food web structure changes that could be induced by Ocean Alkalinization, a nature-based Negative Emissions Technology (NET).
As you might find out if you go through my gallery and read the stories behind each illustration, my studies and work often pour into my art in one way or another. Research gave me the tools to understand a world that fascinated me since I was a child. Back then, kneeling down by the tide pools and overturning rocks, I felt a rush of excitement, of anticipation, for what I might discover. Today I find that this natural passion materializes itself in my drawings.
As I curated the exhibition, I realized each piece provides a small window into different times from the last three years of my life, beginning when I first arrived in Kiel to study my masters in biological oceanography at GEOMAR. In order to give the viewer a thread to follow, I organized the pieces according to the geographical region in which the course or project that inspired them took place: South America, Asia and Europe. I hope you enjoy it.
South America
South America
Asia
Asia
Europe
Europe
Three common western Mediterranean fish species text
Aquarelle of three common western Mediterranean fish species (Thalassoma pavo, Chromis chromis and Symphodus mediterraneus). One of the practical courses during my master’s degree at GEOMAR took us to Corsica, where we learned about Mediterranean coastal ecosystems and carried out a little project on sea urchin development. But I think what I will remember about those two weeks is how happy we all were, how carefree. There are so many memories from those days that come to mind when I see this sketch. The seawater tasted especially salty and felt particularly cool early in the mornings when everyone was still sleeping and everything was bathed in a pale pink light. During the day it was hot and humid, bright clouds towered over the sea across the bay, and the t-shirt fabric stuck on us like a second skin. In the nights we would jump into the sea, dive masks on, plunging as deep as we could into the dark to gaze at the green sparks of bioluminescence.
Bretagne
Canary Islands
Iceland
Lockdown
Mara Strunk
Mara Strunk
Mara Strunk
Mara Strunk
Vollbild
Instagram: @lartiste_nomiste
Ich bin Mara Strunk, in Hamburg geboren und in Ahrensburg aufgewachsen. Mit dem Malen habe ich im Alter von acht Jahren angefangen und seitdem nicht mehr aufgehört. Im Alter von 20 Jahren bin ich nach Kiel gezogen um "Physik des Erdsystems" an der CAU zu studieren. Seit dem fünftem Semester arbeite ich in der GEOMAR Bibliothek am Westufer als studentische Hilfskraft. Malen bildet für mich einen wichtigen Gegenpol zu dem physiklastigen Studium. Dieses werde ich höchstwahrscheinlich im kommenden – meinem siebten Semester – mit dem Bachelor abschließen.
Zu den Bildern:
Alle Bilder stammen aus dem Jahr 2020. Neben der belastenden Corona-Situation gibt es in meiner nahen Familie seit Mitte 2019 einen schweren Krankheitsfall. In den meisten Bildern kommen die Belastungen durch Uni, Privatleben und die allgemeine Situation (z.B. Corona) zum Ausdruck.
Ich bin Mara Strunk, in Hamburg geboren und in Ahrensburg aufgewachsen. Mit dem Malen habe ich im Alter von acht Jahren angefangen und seitdem nicht mehr aufgehört. Im Alter von 20 Jahren bin ich nach Kiel gezogen um "Physik des Erdsystems" an der CAU zu studieren. Seit dem fünftem Semester arbeite ich in der GEOMAR Bibliothek am Westufer als studentische Hilfskraft. Malen bildet für mich einen wichtigen Gegenpol zu dem physiklastigen Studium. Dieses werde ich höchstwahrscheinlich im kommenden – meinem siebten Semester – mit dem Bachelor abschließen.
Zu den Bildern:
Alle Bilder stammen aus dem Jahr 2020. Neben der belastenden Corona-Situation gibt es in meiner nahen Familie seit Mitte 2019 einen schweren Krankheitsfall. In den meisten Bildern kommen die Belastungen durch Uni, Privatleben und die allgemeine Situation (z.B. Corona) zum Ausdruck.
Charlotte Eckmann
Charlotte Eckmann
Charlotte Eckmann
Vollbild
Twitter:
@ScotoplanesGlob
I have always loved both art and science and am annoyed when they are sometimes thought of as opposites; both are the products of creativity and
careful observation of the world around us. As a little kid, I wanted to be both a marine biologist and an artist. While I am more of a
biological oceanographer these days, I try to stay true to my childhood aspirations. I have only recently taken the plunge into the world
of digital art. I usually sketch the designs out with pencil and paper, then do the final lines and coloring in Adobe Photoshop or Illustrator.
The infographic on deep sea octocorals is inspired by the coral reef I saw during a remotely operated vehicle dive at Sur Ridge, a rocky seafloor
feature off the coast of central California that hosts a stunning deep sea benthic community. Octocorals are characterized by polyps with 8-fold
symmetry, although not all the polyps are visible in all the corals in the graphic. The other illustration is of a limpet (Lottia sp.) and a black
turban snail (Chlorostoma funebralis), both of which I met whilst tidepooling on the California coast. These images remind me fondly of my time in
California, and I look forward to documenting some German marine life in the future!
I have always loved both art and science and am annoyed when they are sometimes thought of as opposites; both are the products of creativity and
careful observation of the world around us. As a little kid, I wanted to be both a marine biologist and an artist. While I am more of a
biological oceanographer these days, I try to stay true to my childhood aspirations. I have only recently taken the plunge into the world
of digital art. I usually sketch the designs out with pencil and paper, then do the final lines and coloring in Adobe Photoshop or Illustrator.
The infographic on deep sea octocorals is inspired by the coral reef I saw during a remotely operated vehicle dive at Sur Ridge, a rocky seafloor
feature off the coast of central California that hosts a stunning deep sea benthic community. Octocorals are characterized by polyps with 8-fold
symmetry, although not all the polyps are visible in all the corals in the graphic. The other illustration is of a limpet (Lottia sp.) and a black
turban snail (Chlorostoma funebralis), both of which I met whilst tidepooling on the California coast. These images remind me fondly of my time in
California, and I look forward to documenting some German marine life in the future!
Acrylic paintingKathrin Busch
Kathrin Busch
Kathrin Busch
Vollbild
Contact: https://www.geomar.de/en/kbusch
Kathrin Busch currently works in GEOMAR's Marine Symbioses research group as a Postdoc. Her scientific work focusses on microbial biodiversity and ecosystem dynamics in the cold and deep ocean. Kathrin enjoys experiencing art and handicrafts in all shapes and colours. She is always curious to explore the vibrant interface between science and art. In her current projects at GEOMAR, one of Kathrin's foci is the development of novel visualisation formats in order to promote generation of scientific knowledge from data.
Kathrin Busch currently works in GEOMAR's Marine Symbioses research group as a Postdoc. Her scientific work focusses on microbial biodiversity and ecosystem dynamics in the cold and deep ocean. Kathrin enjoys experiencing art and handicrafts in all shapes and colours. She is always curious to explore the vibrant interface between science and art. In her current projects at GEOMAR, one of Kathrin's foci is the development of novel visualisation formats in order to promote generation of scientific knowledge from data.
Küstenherbst
Acrylic painting (100 x 70 cm). The chestnuts come from the tree in front of the GEOMAR west shore building.
Meike Klischies
Blick in die ErdeMeike Klischies
Meike Klischies
Meike Klischies
Vollbild
Freunde und Kollegen würden mir sicherlich eine ausgeprägte kreative und künstlerische Ader bescheinigen. Ob im Kunstunterricht, beim Einrichten der eigenen Wohnung oder bei der Arbeit - das kreative Verknüpfen von Aufgabenstellung, Praktikabilität und ansprechendem Design ist mir immer eine Herzensangelegenheit gewesen.
Trotz dieser Vorliebe für Kunst und Design hat mich meine Faszination für Vulkane und Naturgewalten dazu gebracht, Geowissenschaften zu studieren und am Geomar über heiße Quellen am Meeresboden zu promovieren. Dabei bietet mir meine Arbeit mit geologischen Karten der Erdoberfläche nicht nur ein Werkzeug, um die großen und kleinen Zusammenhänge um heiße Quellen und Vulkane besser verstehen zu lernen, sie verbindet auch auf herrliche Weise Wissenschaft mit Design.
Der nächste Schritt, der Blick in die dritte Dimension, also in die Erde hinein, war praktisch vorprogrammiert und hat mich zum Anfertigen der präsentierten Abbildungen gebracht. Die 3D-Ansichten und Querschnitte versuchen das an der Erdoberfläche Beobachtete mit Prozessen im Erdinneren zu verknüpfen.
Anders als bei den geologischen Karten ist hier der künstlerische Anteil etwas größer, da Daten oder gar Gesteinsproben aus der Tiefe rar gesät sind und mehr Raum für Phantasie und künstlerische Freiheit zulassen.
Trotz dieser Vorliebe für Kunst und Design hat mich meine Faszination für Vulkane und Naturgewalten dazu gebracht, Geowissenschaften zu studieren und am Geomar über heiße Quellen am Meeresboden zu promovieren. Dabei bietet mir meine Arbeit mit geologischen Karten der Erdoberfläche nicht nur ein Werkzeug, um die großen und kleinen Zusammenhänge um heiße Quellen und Vulkane besser verstehen zu lernen, sie verbindet auch auf herrliche Weise Wissenschaft mit Design.
Der nächste Schritt, der Blick in die dritte Dimension, also in die Erde hinein, war praktisch vorprogrammiert und hat mich zum Anfertigen der präsentierten Abbildungen gebracht. Die 3D-Ansichten und Querschnitte versuchen das an der Erdoberfläche Beobachtete mit Prozessen im Erdinneren zu verknüpfen.
Anders als bei den geologischen Karten ist hier der künstlerische Anteil etwas größer, da Daten oder gar Gesteinsproben aus der Tiefe rar gesät sind und mehr Raum für Phantasie und künstlerische Freiheit zulassen.
Hydrothermal System
Crustal selections oceanic crust
Overview Spreading Arc Back-Arc Basin
Remote Sensing Platforms
Seafloor Depth
Research Vessel "Sonne" and 3.600 meters water column
Ulrike Panknin
Ocean JewelsUlrike Panknin
Ulrike Panknin
Ulrike Panknin
Vollbild
Facebook: @ulli.pank
Mein Name ist Ulrike Panknin. Ich bin in Kiel aufgewachsen und habe mich sowohl beruflich als auch privat dem Meer verschrieben. Ich bin Taucherin. Meine Lieblingstiere sind Tintenfische. Ich interessiere mich für Musik und Kunst und bin gerne kreativ.
Durch meine Arbeit an einem meeresbiologischen Institut im Bereich der Forschung ist mir das Präparieren von Muscheln, Seesternen und Seeigeln, die wir hier vor unserer Haustüre finden, vertraut. Die Schalen dieser Tiere sind wunderschön, besonders, wenn sie noch im Wasser liegen, das kennt fast jeder vom Muschelnsammeln am Strand. Wie kann man diesen Zustand, der teilweise sehr zerbrechlichen Schalen, erhalten? Wäre es nicht schön, diese kleinen Kunstwerke der Natur in ein haltbares Schmuckstück zu verwandeln? Das habe ich mich gefragt und es dann einfach ausprobiert.
Inzwischen bekomme ich natürlich auch gesammelte Lieblingsstücke aus Urlauben mitgebracht und ich habe selbst auf meinen Reisen fleißig gesammelt. So entstanden Auftragsarbeiten. Dazu gehören bisher Muscheln und Schnecken aus dem Mittelmeer z.B. von der italienischen Küste, aus dem Atlantik, von der französischen Küste, von den Kapverdischen Inseln, aus Mauritius und Australien sowie Brasilien und aus Taiwan.
Mein Name ist Ulrike Panknin. Ich bin in Kiel aufgewachsen und habe mich sowohl beruflich als auch privat dem Meer verschrieben. Ich bin Taucherin. Meine Lieblingstiere sind Tintenfische. Ich interessiere mich für Musik und Kunst und bin gerne kreativ.
Durch meine Arbeit an einem meeresbiologischen Institut im Bereich der Forschung ist mir das Präparieren von Muscheln, Seesternen und Seeigeln, die wir hier vor unserer Haustüre finden, vertraut. Die Schalen dieser Tiere sind wunderschön, besonders, wenn sie noch im Wasser liegen, das kennt fast jeder vom Muschelnsammeln am Strand. Wie kann man diesen Zustand, der teilweise sehr zerbrechlichen Schalen, erhalten? Wäre es nicht schön, diese kleinen Kunstwerke der Natur in ein haltbares Schmuckstück zu verwandeln? Das habe ich mich gefragt und es dann einfach ausprobiert.
Inzwischen bekomme ich natürlich auch gesammelte Lieblingsstücke aus Urlauben mitgebracht und ich habe selbst auf meinen Reisen fleißig gesammelt. So entstanden Auftragsarbeiten. Dazu gehören bisher Muscheln und Schnecken aus dem Mittelmeer z.B. von der italienischen Küste, aus dem Atlantik, von der französischen Küste, von den Kapverdischen Inseln, aus Mauritius und Australien sowie Brasilien und aus Taiwan.
Asterias petrol
Asterias rosa
Dröbachs Seeigel
Miesmuschel bronze
Miesmuschel Ohrringe
Mytilus Schmuckset
Seeigel Armreif
Yifan-Song
Zum AnfangYifan Song
Yifan Song
Vollbild
My name is Yifan Song, from China. I am currently a senior PhD candidate in Oceanic Machine Vision Group (FB2). Designing and making paper models is one of my hobbies since my childhood. It started when my parents first bought me a paper model of Titanic from the book store. After finishing making all the models that I could buy from the store, I started to design and make the model for my own. I have made dozens of models from a little car to aircraft carrier during my childhood. My research in GEOMAR is about 3d reconstruction from photos, which takes several images of one object and then making a digital 3D model out of them. This is exactly the same procedure how I make a paper model: design the 2D projection drawing of a 3D real object, and then make the 3D paper model from this drawing. There is no hard boundary between science and art, making paper models trains my ability of spatial imagination which later also inspires my research work. RV POSEIDON is the first vessel that I took during the cruise. In memory of its retirement, I designed the paper model refers to its photos on the internet and the model in GEOMAR's main entrance hall.
The Design of the paper model RV POSEIDON
Manual Paper Model
Rudolf Link
Momente in FotografieRudolf Link
Rudolf Link
Rudolf Link
Vollbild
Ich bin 62 Jahre alt und seit 33 Jahren in der Meeresforschung (Institut für Meeresforschung, GEOMAR) als Elektrotechniker tätig. Ich habe viele Jahre hobbymässig analog fotografiert. Es hat recht lange gedauert bis ich mich zum Kauf einer Digitalkamera entschied. Diese entsprachen lange nicht meinen Ansprüchen und ließen manuelle Eingriffe kaum zu.
Ein Foto entsteht für mich im Kopf und nicht durch den Algorithmus einer Kamera oder durch Nachbearbeitung. Wie man an einigen Bildern sicher erkennen kann, habe ich ein Faible für reduzierte Motive.
Ein Foto entsteht für mich im Kopf und nicht durch den Algorithmus einer Kamera oder durch Nachbearbeitung. Wie man an einigen Bildern sicher erkennen kann, habe ich ein Faible für reduzierte Motive.
Meteorologen-Traum
Grau in Grau
Nase hoch
Prinzessin im Sand
Vergoldet
Transformation
Philipp Süßle
Underwater photographyPhilipp Süßle
Philipp Süßle
Philipp Süßle
Vollbild
Instagram: @philipp_suessle
My name is Philipp Süßle and I study MSc Biological Oceanography at Geomar.
From an early age on I have been fascinated by nature, how ecosystems are shaped and what keeps them in balance. Having spent the majority of my childhood holidays at some sea-bound destination stories of great adventurers from the 19h and 20th century sparked my imagination. Being able to go diving and get in the water on a regular basis gives me this feeling of exploration. It is the anticipation of what´s to come and to observe. How has the habitat changed over the season, will there be loads of fish and what about human influences? At the same time, it is the calmness and the disconnectedness that can soothe my mind from hectic studying and data-analysis. Trying to capture the beauty of local habitats and species helps me to keep track of sight, when only numbers and graphs make it hard to grasp, what one is working on. Taking pictures enables me to get more of my not-so-sea-related friends enthusiastic about not only our global oceans, but also the Baltic Sea.
Seagrasses, such as Zostera marina, are found all along the coast of the western Baltic Sea. Besides providing benefits like protection against coastal erosion and storing large amounts of carbon, they host exceptional biodiversity. It is this diversity, creating the basis for many coastal food webs, I want to show here. Many people are not aware of how colourful and peculiar some species look and that they can be found right at our doorstep. Here I chose a selection of prominent seagrass-dwellers commonly to be found. Besides different pipefish and nudibranchs a variety of crustaceans is displayed. Every time I go out, I hope to bring back some new pictures to show even more variety to my friends 😊 All these pictures were taken along the west-coast of Sweden and in the Kiel Fjord
My name is Philipp Süßle and I study MSc Biological Oceanography at Geomar.
From an early age on I have been fascinated by nature, how ecosystems are shaped and what keeps them in balance. Having spent the majority of my childhood holidays at some sea-bound destination stories of great adventurers from the 19h and 20th century sparked my imagination. Being able to go diving and get in the water on a regular basis gives me this feeling of exploration. It is the anticipation of what´s to come and to observe. How has the habitat changed over the season, will there be loads of fish and what about human influences? At the same time, it is the calmness and the disconnectedness that can soothe my mind from hectic studying and data-analysis. Trying to capture the beauty of local habitats and species helps me to keep track of sight, when only numbers and graphs make it hard to grasp, what one is working on. Taking pictures enables me to get more of my not-so-sea-related friends enthusiastic about not only our global oceans, but also the Baltic Sea.
Seagrasses, such as Zostera marina, are found all along the coast of the western Baltic Sea. Besides providing benefits like protection against coastal erosion and storing large amounts of carbon, they host exceptional biodiversity. It is this diversity, creating the basis for many coastal food webs, I want to show here. Many people are not aware of how colourful and peculiar some species look and that they can be found right at our doorstep. Here I chose a selection of prominent seagrass-dwellers commonly to be found. Besides different pipefish and nudibranchs a variety of crustaceans is displayed. Every time I go out, I hope to bring back some new pictures to show even more variety to my friends 😊 All these pictures were taken along the west-coast of Sweden and in the Kiel Fjord
Palio dubia
Aeolidia sp.
Crangon sp.
Pagurus sp.
Palaemon sp.
Tobias Strickmann
Tobias Strickmann
Tobias Strickmann
Vollbild
Hello, I'm Tobias, a German marine biologist, currently working at GEOMAR
working on data from an underwater fish observatory. On top of that, I
conducted weekly research cruises for a long-standing ecological time
series.
When I was younger, my art was heavily influenced by my interest in (marine) biology, and I would draw and paint almost exclusively animals and landscapes. Nowadays, I find it harder and harder to allocate enough time for creating new art, but when I manage I tend to draw more portraits and abstracts.
No matter the subject, I always found a lot of joy in painting and drawing, watching the artwork slowly come together and working on the tiny details. Even though I tend to never be content with the results, I hope you can enjoy some of my pictures.
When I was younger, my art was heavily influenced by my interest in (marine) biology, and I would draw and paint almost exclusively animals and landscapes. Nowadays, I find it harder and harder to allocate enough time for creating new art, but when I manage I tend to draw more portraits and abstracts.
No matter the subject, I always found a lot of joy in painting and drawing, watching the artwork slowly come together and working on the tiny details. Even though I tend to never be content with the results, I hope you can enjoy some of my pictures.
Bee
Salt desert
Rabbit
Camille (Credit to CONMA)
Sarah-Marie Kröger
Sarah-Marie Kröger
Sarah-Marie Kröger
Sarah-Marie Kröger
Vollbild
Instagram: @sar.ahar
VITA:
Being a master student of Environmental Management with a focus on Ocean health, I study interdisciplinary approaches towards solving current Environmental Issues.
Next to this, painting has been my favourite hobby all my life. I therefore quickly found a way to connect my two passions.
With my work I want to grasp the daily life on a research vessel and further show situations where marine science is in the making. I sketch different settings from all cruises I’ve been on so far, with the intention to catch the interest of society for this unique working area. I realized that outside of the scientific bubble, little is known about the life on research vessels.
The working area of marine scientists on the vessel is always embedded in the stunning atmosphere of the (sometimes very rocky) ship. The artificial character of the rigid metal stands in heavy contrast to the smooth soft colors of the endlessly surrounding sea and sky in all facets. It can happen that we are alone for days and weeks, without seeing another ship on the horizon. After a few days, the vessel and their crew become a temporary home and to me this is one of the most beautiful working places around the globe.
I am convinced that science communication should also be presented in unusual creative ways. Showing what we do in our job to maintain healthy oceans in an artistic and creative way can touch the mind like nothing else.
VITA:
Being a master student of Environmental Management with a focus on Ocean health, I study interdisciplinary approaches towards solving current Environmental Issues.
Next to this, painting has been my favourite hobby all my life. I therefore quickly found a way to connect my two passions.
With my work I want to grasp the daily life on a research vessel and further show situations where marine science is in the making. I sketch different settings from all cruises I’ve been on so far, with the intention to catch the interest of society for this unique working area. I realized that outside of the scientific bubble, little is known about the life on research vessels.
The working area of marine scientists on the vessel is always embedded in the stunning atmosphere of the (sometimes very rocky) ship. The artificial character of the rigid metal stands in heavy contrast to the smooth soft colors of the endlessly surrounding sea and sky in all facets. It can happen that we are alone for days and weeks, without seeing another ship on the horizon. After a few days, the vessel and their crew become a temporary home and to me this is one of the most beautiful working places around the globe.
I am convinced that science communication should also be presented in unusual creative ways. Showing what we do in our job to maintain healthy oceans in an artistic and creative way can touch the mind like nothing else.
Littorina & Alkor
I was lucky to catch both of the ships during a stroll along the Kielline. As Littorina was steaming quickly I had to make a photo of the scene and finish it at home although I prefer painting “in-situ” this is often the only way to finish a sketch as people (and ships) move on.
RV Sonne
The SONNE is the most modern research vessel in Germany and mainly sets sail in pacific.
Meteor1
The fore of RV Meteor facing rough weather front (that’s why the sketch had to be made quickly).
Meteor in Harbour
Harbour time often helds a busy schedule; old scientists leave and the new scientists arrive. This includes loading and unloading containers, rations and food.
Sunset at Sea
Sunrise and Sunsets are the most magical moments on every cruise and you can catch scientists in awe daily (with their cameras at hand) staring at the beautiful scenery after a long work day. I guarantee this never gets boring.
The fight with the CTD
Getting gear in and out of the water is happening daily on a cruise. Especially when it comes to heavy gear additionally seasoned with some waves, this can be dangerous if the CTD (structure to measure Conductivity, Temperature, Depth) is not handled correctly. Safety boots and helmet are obviously mandatory. Luckily the ship crew is experienced and handles every situation masterfully (and with a smile).
MUC – the Multicorer
The Multicorer is one of the main gear used in marine science when it comes to investigation of the seafloor. It works like a giant cookie cutter and samples several tubes of mainly undisturbed sediment (don’t forget to rinse the working area after!).
Scrollen, um weiterzulesen
Wischen, um weiterzulesen
Wischen, um Text einzublenden
The Artists - Hotspots
Angela Stevenson
Sweet sixteen
Billabong
Birds of paradise
Tropical bird meets savanna giraffe
Carnivorous glass sponge
Clione limacina
Japanese pufferfish
Old bark
Plankton eddies
Mesophotic ecosystems
Mariana Hill-Cruz
Mariana Hill-Cruz
Drawings
Dragon
Oil dragon
Mio
Rhino
Leopard
Vaquita
Rider on a horse
Text Photography
Cactus ohne Text
Hamburg ohne Text
Kelpies 2
Kelpies ohne
Golden Fiels ohne Text
Harz ohne Text
Seagul ohne Text
Alexandra Hahn
Über meine Kunst
Humpback whale
sea turtle
Rita Erven
Wo denkst du hin 1_1
Wo denkst du hin 1_2
Wo denkst du hin 1_3
Wo denkst du hin 2_1
Wo denkst du hin 2_2
Wo denkst du hin 2_3
Stranger than paradise 1
Stranger than paradise 2
Stranger than paradise 3
Wissenschaftlerin
Henrike Gesa Timm
Coffea
Dracaena
Nico Augustin
Rosette Nebula
Comet NEOWISE
Crab Nebula
Triangulum
Sunflower Galaxy
Wanxuan (Ben) Yao
1. Combining Work with pleasure
Post its
Surface ocean
NPZD model sketch
Calibration
Take Home message
Hamster im Käfig
Namensschild
2. Around the office
Rezept
Papier Dekoration
Coffee
Weihnachtskarte
Blocked HPC
Brunch
Cat
Hund Diesel
3. You’ve got to have a life too
Shades of blue
stormy ocean
cherry blossom
A food stealing cat
water kily leaves
cat bookmark
silent harbor
small supermarket
surfing bunny
fake mosaic bowl
coaster
wooden puzzle ball
yin und yang
single rose
mood for love
self portrait
Jamie Parker
Forest for the whales text
Clownfish
Cod
Coralsingers
Cuddlefish
Dr. Octopus
Emperor penguin
Fish & Chips
Guitar tuna
Michael Jawdon
Krill Bill
The Lord of t'herring
Naughtylus
Nazgûll
Orcastra
Pilot whale
Jackson Pollock
Prawnstars
Rudolphin
Sea lion
Seal of approval
Skate
Sole surfer
Squidditch
Toxic relationship
Trojan seahorse
Wu-Tang
Jacqueline Bertlich
Island
Island 0
Island 1
Island 2
Island 3
Island 3.1
Island 4
Island 5
Island 6
Island 7
Island 8
Island 9
Island 10
Island 12
Island 13
Island 14
Schweden
See Vänern in Schweden
Maike Heinitz
Malen mit Ölfarben 01
Malen mit Ölfarben 02
Birkenrinde in Epoxidharz
Materialexperimente mit Holz
Nicolás Smith-Sánchez
South America
Humboldt Upwelling system food web Text
Birds of La Punta / Lima Text
Common sardine and Peruvian Anchovy text
Asia
Mahi mahi text
Europe
Three common western Mediterranean fish species text
The straightnose pipefish text
Bretagne
Oystercatcher text
Canary Islands
Simplified mesocosm food web text
Canary Island copepod text
Pico de Coral text
Gran Canaria copepods text
Common and Brünnich Guillemots text
Atlantic Cod text
Razorbills text
Lockdown
Buffy helmetcrest text
Mara Strunk
Bild 1 text
Bild 2 Overwhelmed text
Bild 3 Heart of the Sea text
Bild 4 text
Bild 5 text
Charlotte Eckmann
Octocoaral ohne Text
Snelshadow
Kathrin Busch
Küstenherbst
Meike Klischies
Hydrothermal System
Crustal selections oceanic crust
Overview Spreading Arc Back-Arc Basin
Remote Sensing Platforms
Seafloor Depth
Ulrike Panknin
Meer Design Unbetitelt
Asterias petrol
Asterias rosa
Dröbachs Seeigel
Miesmuschel bronze
Miesmuschel Ohrringe
Mytilus Schmuckset
Seeigel Armreif
Yifan-Song
Yifan Song
Video des Papiermodels
Model Vergleich Foto
Poseiden Vorher Nachher hinten
5
7
The Design of the paper model RV POSEIDON
Design 1/3
Design 2/3
Design 3/3
Manual 6/7
Manual 7/7
Rudolf Link
Meteorologen-Traum
Grau in Grau
Nase hoch
Prinzessin im Sand
Vergoldet
Transformation
Philipp Süßle
Syngnatus sp.
Palio dubia
Aeolidia sp.
Crangon sp.
Pagurus sp.
Palaemon sp.
Tobias Strickmann
Bee
Salt desert
Rabbit
Camille (Credit to CONMA)
Sarah-Marie Kröger
Littorina & Alkor
RV Sonne
Meteor1
Meteor in Harbour
Sunset at Sea
The fight with the CTD
MUC – the Multicorer