Helga Kreuzritter

Helga Kreuzritter, Abandoned City, Aluminum Image, 45 x 45 cm, 2008

Helga Kreuzritter, We, Aquarell, 30 x 41 cm, 1997

Helga Kreuzritter, Tristittia Urbana, Assemblage, 46 x 60 cm, 1991

Helga Kreuzritter, Peterchen's Moon Ride, Assemblage, 39,5 x 49,5 cm, 1990

Helga Kreuzritter, Island of Hope, Gouache, 30 x 43 cm, 2005

Helga Kreuzritter, Reliefbild, 50 x 40 cm

Helga Kreuzritter, In the Room, Object / Sculpture, 44 x 53 cm, 2001

It all began with sculpture a sign even then that Helga Kreuzritter felt the need, later witnessed in her painting, to encompass more than the two wellestablished dimensions.

It’s a vision she remained true to: many of the works she has produced since are “structure” or “relief” or “material” works. Yet, whether Helga Kreuzritter expresses herself in painting, sculpture or in objects, all these forms of cultural expression are united by a quite personal and recognizable “language” not influenced by the latest “isms” or commercial motivation. Whatever subject she chooses, she observes, describes, reflects and comments. There is virtually no subject that she does not find worthy of artistic expression: human and all too human behavior, man’s impotence, living in tune with nature, nature and landscape, people and technology, time and transience, global development and problems.

She takes a pronounced view on it all often interspersed with irony. For Helga Kreuzritter, art is not simply about diffuse vagueness or pleasant academic exercises. She is not afraid to use her art to call problems by their name. Yet even when dealing with very serious subjects she manages, through her humor and wit, to bring a pensive smile or heartfelt laugh to her audiences. Going hand-in-hand with this unusual breadth and depth of subject matter is an equally unusual breadth of artistic techniques.

Jill Smith, a New York-based art critic, writes in her feature article about Helga Kreuzritter entitled “Harmony for Humanity”: “Kreuzritter’s ardor for materials is evident in both her paintings and sculpture. As an experimental and dynamic artist, Kreuzritter effortlessly convinces us that she has not only perfected her craft, but that she also has an impeccable instinct for the emotionally evocative power of color, movement, texture and shape.”

And Aaron Deland, another New York-based art critic, comments: “The choice of technique and materials depends entirely on the particular subject to be conveyed. Kreuzritter flows easily from two-dimensional to three-dimensional works, drawing, sculpting wood, painting or assembling found objects.”

The artist’s name, “Kreuzritter”, is not in fact a name in art. Helga Kreuzritter’s ancestors in the early Middle Ages were part of a group of aristocrats who, as rusaders through into the 14th century, brought religion and culture to the Baltic provinces of the time. Perhaps it is this heritage which has enabled Helga Kreuzritter to develop her very own style of artistic work throughout her long life and draw in her audience with conviction.

Prof.Dr.Frank Mayer, Bad Zwischenahn