June 20 to July 22, 1990
As a child, Frank Ebermann had a deep interest in painting, sculpting and carving. At the age of 22, he left his native Germany to travel and met his wife, Sophia in South America. Looking for peace and solitude, Ebermann finally settled with his family in the wilderness near Houston, British Columbia.
The beauty and isolation of his surroundings were an inspiration and his sculpture flourished. Ebermann built a beautiful log home filled with handcrafted furniture and sculpture for his family.
In 1983, a devastating forest fire swept through thousands of acres of wilderness consuming everything in its path including five homes. Ebermann’s was one of them. Everything was lost including the family pet.
The Ebermanns returned to build a more modest home among the blackened trees. They spent a great deal of time surveying the incredible devastation left by the fire. It had been so hot and travelled so quickly that, while the trees were killed and their bark was charred and scorched, they were not consumed. Inside was clean, dry wood, already seasoned by the fire. Ebermann started to gather interesting pieces.
From the ashes of the fire, Ebermann has created a whole new body of work that is a testament to his own tenacity and spirit.
Always experimenting, he went to Italy to study the work of Michelangelo and brought back Italian marble to sculpt. He has recently been experimenting and working with cast stone as well.
Ebermann’s interest in form gradually led to his fascination with the convex and concave forms evident in this exhibition. The flowing, graceful lines define free-floating, organic forms. The abstract shapes are often suggestive of anthropomorphic figures that merge together and incorporate each other, creating the rhythmic spaces in and around each piece. Others suggest birds in flight, one form mingling with another. The lines may converge to a needle-sharp point that suddenly pierces the negative space to evoke a tension that increases the viewer’s appreciation for the concept that Ebermann is communicating. When asked what prompts him to sculpt, Ebermann replied:
“It’s such an emotional thing – not possible to rationalize.”
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