Exhibition

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In its spring exhibition, Galerie Marianne Heller in Heidelberg is showing works by French
ceramic artist emmanuel boos together with paintings by Munich painter Günter Nosch.

boos (born 1969 in St. Etienne) learnt the fine art of porcelain pottery from Maître d'art Jean
Girel before completing a doctorate in artistic practice at the Royal College of Art in London
and then taking up a four-year artist residency at the porcelain manufactory in Sèvres. He
lives and works in Mannheim and Paris.

boos produces his porcelain masses and glazes himself and has been researching their
characteristics for twenty years. He is passionate about ceramic surfaces: their depth and
colourfulness inspire him. In his works of recent years, emmanuel boos often takes basic
forms of building and play as his starting point: bricks, cobblestones and cubes.

The work of emmanuel boos has been recognised by many awards, including a purchase by
the Kunsthalle Mannheim, and he is one of the finalists for the Loewe Foundation Craft Prize
2024.

Günter Nosch (born 1956 in Ulm) studied painting and fine art at the Academy of Fine Arts in
Munich. After his state examination and diploma as a master student, he travelled to Vienna,
Madrid and New York for a year before moving into a studio in Munich. He has lived and
worked in Weilheim in Upper Bavaria since 2023.

Writing and sign systems play an important role in Nosch's artistic work, alongside the
intrinsic value of colour and the significance of his own actions. The fact that thought
becomes sound in language - and image in writing - has always fascinated him. In the work
groups "No Landscapes" and "Farbe schreiben ", Nosch deals with horizons and space, with
condensation and the light of colours. The squeegee was the right tool for "Farbe schreiben"
and "Verabredetes Grün". "Musik für Einstein" is the current block of works in which ink and
paper are used to create notations that remain illegible as a score, but instead become music to
the eye in their rhythm and subtlety.
(Text excerpt, Barbara Hohenadl)