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Artist builds career atop shifting sands
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AUSTRIAN artist Klaus Bosch is known to many as “the sandman.” Looking at his unique oeuvre, it’s not hard to see why.
Using sand, silicone and water sealed between panes of glass, Bosch creates dreamy miniature landscapes. With each work containing sand grains of various color and density, the drifting particles form three-dimensional-looking scenes reminiscent of dunes and mountains when turned upside down.
According to Bosch, these meditative and constantly shifting works reflect the spirit of Zen Buddhism as well as themes of nature and wisdom.
Born in Lustenau, Austria, in 1963, Bosch started his artistic career as a photographer in the early 1980s. After being introduced to moving sand art by a friend, Bosch began to dabble with creations of his own. Before long, he had taught himself the basics of lacquering, joinery, airbrushing, gilding, and — of course — blending fine sand grains. With these skills, Bosch would eventually go on to become synonymous with his surreal sandscapes.
Shanghai Daily recently had the pleasure of catching up with the acclaimed and highly successful artist, who was in town late last month for his “Charisma of Sand Pictures” show, now on display at the K11 Art Store.
1. What initiated your interest in moving sand pictures? Do you remember your first exposure to this art?
A: I still remember it well. It was a late October evening in the home of my friend Werner — a German writer and publisher. He handed me one of those simple sand pictures around 1986. He said: “Klaus, you will love this.”
Deeply touched and fascinated, I turned the picture again and again. Nobody could speak to me for one hour, because this sand picture took me into a kind of meditation. This was the start and Werner actually was right: I still love it.
2. To create your moving sand paintings, it’s obvious that one needs more than merely a knowledge of art. They also involve a deep understand of physics. How did you acquire such knowledge?
A: Chinese potters 2,000 years ago, or European painters in the Middle Ages, all had a great knowledge of chemistry — and partly physics, too. At the basic stage, artists always need the tools of science to develop their skills and to prepare their working materials.
Having entered the world of sand-art in the very beginning, I am a pioneer ... but I continue to research and learn day by day.
Chemistry and physics were the subjects that caught my interest in junior high school though. Therefore when I started my discovery of moving sand art, the basics were already set.
4. I heard that you spent eight years experimented with your moving-sand pictures. Eight years is not a short period in one’s life. What kept you going during this period of exploration? Was there ever a moment of desperation when you wanted to give up?
A: Those eight years looked like this: In 1986 I started testing and researching techniques. This I did beside my regular job. By 1988, the initial progress was done and I was able to make moving sand pictures which were okay, but still far from my vision of using multi-colored sand blends. But I could sell my works and at least could survive and feed my family.
There were many ups and downs during that period, but in 1993 I was close to giving up. An unknown problem destroyed half of my products that year and I went into heavy debt. There were two things that kept me going.
First, my dreams: Succeeding with sand pictures was one of my dreams.
Second, my philosophy: When I was 19, I started studying the religions and philosophies of different people and races, including Buddhism, Hinduism, Shamanism and others. Would Buddha have found Nirvana if he had given up on meditating and celebrating his religious life?
5. How long will it typically take you to create one piece?
It takes around two weeks to finish a small piece. For the big art installations, it takes me several weeks or up to three months. But sometimes a project takes two or three years from the first spark.
There is an idea, an inspiration. This is like an image that suddenly appears in front of my eyes. This picture is then followed by thoughts and emotions attached to the idea. Most times the image is very elusive and just the idea remains in my brain. From there a long journey starts: How should it look like when it’s finished? What kind of sands and other materials should I use? What is the shape, size, design or dimensions? Where do I find craftsmen who can do particular work for me, like processing steel, stone or wood in a special way?
And each project always needs a certain mood from myself to be inspired to work on that particular project. Just a few weeks ago, I finished an art work for which I draw the first sketch in December 1997 — which is 18 years ago. You see, the answer is between a few hours and 18 years!
6. I understand that you engaged previously in photography and canvas painting. What is the attraction of sand painting for you?
First of all, it was the fascination in the moving sand, which is still here after 29 years.
Photography or painting on canvas to me were never big sources of satisfaction, because I knew there are masters in both fields that I could never overcome.
For moving sand pictures there was nobody else who saw these as art objects. But I did.
7. Is this your first trip to Shanghai? What’s your impression of the city?
This is my third time in Shanghai.
Shanghai is very exciting. Shanghai has a feel for art and design that you can see in the architecture, and you can feel it at many vibrant places across the city.
8. What kind of response have you gotten from local viewers?
It’s the same reaction as everywhere else around the world: Sand-art makes people smile and feel relaxed.
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