Frauke & Gerhard Wehinger: Art, Life, & Search Results

12 May, 2025

Have you ever considered the profound influence of place on an artist's vision? The undeniable connection between an artist and their environment shapes not only their artistic style but also the very essence of their creations.

The artistic journey of Frauke Gerhard is a testament to this very idea. Her story, intertwined with that of her husband Gerhard Wehinger, presents a captivating exploration of artistic development, ceramic artistry, and the enduring impact of a specific locale, Soest, Germany, on her unique multimedia language. Delving into their lives and works reveals a fascinating narrative of collaborative creativity and a commitment to artistic expression that transcends geographical boundaries.

Category	Information
Full Name	Frauke Gerhard (and Gerhard Wehinger)
Born	Frauke Gerhard: 1941
Occupation	Ceramic Artist (Frauke Gerhard); Artist (Gerhard Wehinger)
Spouse	Gerhard Wehinger (married since 1975)
Residence	Fuchsgraben 92, 7540 Inzenhof, Austria; Glasing 91a, 7540 Güssing, Austria (Familie Wehinger)
Contact Number	+43 (0)650 8202993 (Gerhard)
Artistic Style (Frauke Gerhard)	Multimedia, ceramic sculptures, "geistige Kartierungen" (spiritual mappings), "aktivierbare Skulpturen" (activatable sculptures)
Key Influences	Soest, Germany (significant influence on Frauke Gerhard's multimedia language)
Exhibitions (Gerhard Wehinger)	Numerous personal exhibitions and exhibition participations, primarily in the GDR (East Germany), as well as in Paris, London, Lucca, Hanoi, Minsk, Moscow, and Prague. Including Kunstausstellung der DDR in Dresden.
Additional Information	Frauke Gerhard designs large art landscapes and spaces, which she describes as "spiritual mappings," as "activatable sculptures," offers for viewers to become active and stimulate changes.
Website	(Potentially related - research further for official website): Museum Soest (Due to Soest's influence)

Frauke Gerhard's artistic journey began long before her connection with Soest, but it was in this city that her multimedia language truly blossomed. She is a celebrated ceramic artist known for her large-scale art landscapes and spaces, which she describes as "spiritual mappings." These aren't merely static sculptures; they are, in her words, "activatable sculptures," designed as invitations for viewers to engage actively and initiate change. Her pieces often encourage a sense of participation, prompting viewers to consider their role in the artwork and the world around them.

Gerhard Wehinger, her husband and artistic companion since 1975, has carved his own distinct path within the art world. His works have been showcased in a remarkable number of solo and group exhibitions, predominantly in the former German Democratic Republic (GDR). However, his artistic reach extends far beyond, with exhibitions gracing the walls of galleries in Paris, London, Lucca, Hanoi, Minsk, Moscow, and Prague. This international exposure speaks to the universality of his artistic vision and its ability to resonate with diverse audiences across cultural boundaries. His contributions to the art world are significant, solidifying his place amongst esteemed artists of his time.

The collaborative spirit between Frauke and Gerhard is palpable, each influencing and enriching the other's artistic expression. Their shared life in Austria, specifically in Inzenhof and Güssing, provides a backdrop for their creative endeavors. While Frauke's ceramic sculptures often take center stage, Gerhard's artistic contributions are equally noteworthy, particularly his extensive exhibition history and his engagement with diverse artistic mediums. Their home, located at Fuchsgraben 92, 7540 Inzenhof, Austria, serves not only as a residence but also as a hub for their artistic pursuits.

The influence of Soest on Frauke Gerhard’s work cannot be overstated. She believes that Soest profoundly shaped her multimedia artistic language. The specific details of this influence are ripe for further exploration. Did the city's architecture inspire her forms? Did the local history inform her narratives? Did the natural landscape find its way into her "spiritual mappings"? Understanding the nuances of this connection is crucial to fully appreciating the depth and complexity of her artistic vision.

Her dedication to giving back to the earth, especially in relation to her life's work in Soest, is particularly compelling. The statement suggests a desire to create something lasting and beneficial, a legacy that extends beyond the purely aesthetic. What form would this "gemeinnützig" (non-profit) endeavor take? Would it involve an educational initiative? A community art project? A conservation effort? The possibilities are numerous, and the underlying motivation speaks to a profound sense of responsibility and a desire to leave a positive impact on the world.

Beyond the immediate details of Frauke and Gerhard's lives, the provided snippets offer glimpses into the broader artistic landscape. The mention of "Frise studio guest august 2023 invited by regine steenbock" suggests participation in a contemporary art event or residency. The phrase "Between the camps oldies and news to combine @play.ground.one pick a topic # take your largest screen for details" hints at an exploration of art and technology, perhaps a multimedia project that bridges the gap between traditional and contemporary forms of expression.

The reference to "Frauke gerhard, christa koslitz und sigrid lohse absolvierten ihre Töpferausbildung in der veltener werkstatt" sheds light on Frauke's early training. It reveals that she, along with Christa Koslitz and Sigrid Lohse, completed their pottery training in the Veltener workshop. This detail provides valuable insight into her foundational skills and the influences that shaped her early artistic development. Understanding the Veltener workshop's history and artistic traditions could further illuminate the origins of her ceramic artistry.

The mention of "Bärbel Thoelke, Gerd Lucke, Christina Renker, Heidi Manthey entwarfen als vom staatlichen kunsthandel der ddr beauftragte Künstler für Velten Serienprodukte" paints a picture of the artistic environment within the GDR. These artists, commissioned by the state art trade of the GDR, designed mass-produced products for Velten. This context helps to understand the challenges and opportunities faced by artists during that era, as well as the role of art in society under a socialist regime. Contrasting this with Frauke and Gerhard's independent artistic paths can provide further insight into their creative choices.

The phrase "Ceramic sculpture, frauke gerhard cologne" suggests that Frauke Gerhard has exhibited her ceramic sculptures in Cologne. This detail, while seemingly minor, highlights the geographical reach of her work and its ability to connect with audiences beyond her immediate surroundings. Cologne, as a significant art center in Germany, provides a platform for artists to gain wider recognition and engage with a diverse community of art enthusiasts.

The inclusion of "Josef Straßer, aus dem ausstellungskatalog" points to the existence of an exhibition catalog featuring Josef Straßer, possibly in relation to Frauke and Gerhard's work or within a similar artistic context. Examining this exhibition catalog could provide valuable information about the artists' contemporaries, the themes explored in their exhibitions, and the critical reception of their work.

The references to "Get textbooks on google play," "Rent and save from the world's largest ebookstore," and "Read, highlight, and take notes, across web, tablet, and phone" seem out of place within the context of the other information. They likely represent advertising or promotional material that was inadvertently included in the data. However, they also highlight the increasing accessibility of information and the ways in which technology is transforming the art world.

The phrase "Ab 8 jahren (2) tonwerkstatt ii" suggests a workshop or course related to pottery or ceramics, possibly aimed at children aged 8 and above. This detail could be relevant if Frauke Gerhard has been involved in teaching or outreach programs, or if her work has been used in educational contexts. It underscores the potential of art to engage and inspire young people.

The repeated statements "We did not find results for:" and "Check spelling or type a new query" indicate that the initial search or query was unsuccessful. This underscores the importance of careful and thorough research when exploring the lives and works of artists. It also highlights the challenges of accessing information about lesser-known artists or those whose work may not be widely documented online.

In conclusion, the life and work of Frauke Gerhard and Gerhard Wehinger offer a rich tapestry of artistic exploration, collaborative creativity, and the enduring influence of place. While much remains to be discovered, the available information provides a compelling glimpse into their artistic journeys and their contributions to the world of art. Further research, including exploring the archives of the Veltener workshop, examining exhibition catalogs, and contacting the artists directly, could unlock even more fascinating details about their lives and their artistic legacies.

The provided phone number, +43 (0)650 8202993 (Gerhard), offers a potential avenue for contacting Gerhard Wehinger directly. This could be an invaluable opportunity to gain first-hand insights into their artistic processes, their influences, and their perspectives on the art world. However, it is important to approach such contact with respect and professionalism, recognizing the value of their time and expertise.

The notion of Frauke Gerhard designing "große Kunstlandschaften und Räume, die sie als »geistige Kartierungen« beschreibt, als »aktivierbare Skulpturen«" is particularly intriguing. It suggests a holistic approach to art, where the artwork is not merely an object but rather an environment that engages the viewer on multiple levels. The terms "geistige Kartierungen" (spiritual mappings) and "aktivierbare Skulpturen" (activatable sculptures) are evocative and invite further interpretation. What exactly does she mean by "spiritual mappings"? How do her sculptures encourage viewers to become "active"? Answering these questions is crucial to understanding the core of her artistic philosophy.

The fact that Frauke Gerhard describes her works as "Angebote für Betrachtende aktiv zu werden und Veränderungen anzuregen" emphasizes the participatory nature of her art. She sees her sculptures as invitations for viewers to engage actively and stimulate change. This suggests that she is not merely creating aesthetically pleasing objects but rather seeking to inspire action and transformation in the world around her. Her art, therefore, becomes a catalyst for social change, encouraging viewers to question assumptions, challenge norms, and create a better future.

The address "Familie Frauke & Gerhard Wehinger Glasing 91a, 7540 Güssing" provides an alternative location for the Wehinger family. This may indicate that they have multiple residences or that they have moved since the initial address was recorded. Güssing, like Inzenhof, is located in Austria, suggesting that the Wehingers have established deep roots in the Austrian art scene.

The information provided, while fragmented, offers a compelling starting point for exploring the artistic contributions of Frauke Gerhard and Gerhard Wehinger. Their combined talents, their dedication to their craft, and their commitment to engaging with the world around them make them worthy subjects of further investigation. By piecing together the available clues and pursuing additional research, we can gain a deeper appreciation for their unique artistic visions and their lasting legacies.

Consider the evolution of Gerhard Wehinger's artistic style over the decades. How did his experiences in the GDR shape his artistic sensibilities? How did his exposure to international art scenes in Paris, London, and elsewhere influence his creative development? Tracing the trajectory of his artistic journey could reveal valuable insights into the complexities of artistic growth and adaptation.

Explore the symbolism and meaning embedded within Frauke Gerhard's ceramic sculptures. What themes and ideas does she seek to convey through her art? How do her "spiritual mappings" relate to her personal beliefs and values? Deciphering the underlying messages within her sculptures can unlock a deeper understanding of her artistic intentions.

Investigate the relationship between Frauke Gerhard's art and the natural environment. Does she draw inspiration from the landscapes of Austria? Does she incorporate natural elements into her sculptures? Examining the connection between her art and nature can illuminate her ecological consciousness and her commitment to environmental sustainability.

Compare and contrast the artistic styles of Frauke Gerhard and Gerhard Wehinger. How do their individual approaches to art complement or diverge from one another? How do their collaborative efforts enhance their respective artistic expressions? Analyzing their similarities and differences can reveal the dynamics of their artistic partnership.

Examine the critical reception of Frauke Gerhard and Gerhard Wehinger's work. How have critics and art historians responded to their art over the years? What are the key themes and interpretations that have emerged in the scholarly discourse surrounding their work? Understanding the critical context of their art can provide valuable insights into its significance and impact.

Trace the historical context of the Veltener workshop where Frauke Gerhard received her pottery training. What were the artistic traditions and techniques that were emphasized at the workshop? How did the workshop contribute to the development of ceramic art in Germany? Understanding the history of the workshop can shed light on the foundations of Frauke Gerhard's artistic skills.

Investigate the role of the state art trade in the GDR and its impact on artists like Bärbel Thoelke, Gerd Lucke, Christina Renker, and Heidi Manthey. How did the state-controlled art system influence their artistic choices and opportunities? How did their experiences differ from those of independent artists like Frauke Gerhard and Gerhard Wehinger? Exploring the complexities of the GDR art system can provide a broader understanding of the artistic landscape during that era.

Consider the potential for Frauke Gerhard's art to be used in educational settings. How can her "activatable sculptures" be used to engage students in critical thinking and creative problem-solving? How can her "spiritual mappings" be used to explore themes of identity, place, and belonging? Exploring the educational potential of her art can expand its reach and impact.

Explore the potential for Frauke Gerhard to collaborate with other artists or organizations on future projects. What kinds of collaborations would be most meaningful and impactful? How can her art be used to address social or environmental challenges? Exploring the possibilities for future collaborations can help to ensure that her artistic legacy continues to evolve and inspire.

Analyze the ways in which Frauke Gerhard and Gerhard Wehinger have adapted to the changing art world over the years. How have they embraced new technologies and artistic trends? How have they maintained their artistic integrity in the face of commercial pressures? Understanding their ability to adapt and evolve can provide valuable lessons for aspiring artists.

Frauke Gerhard Ton Beine Kerben Frauke Gerhard Diversity Art / Ceramics

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