He exposes the mechanism of a society that in its desire for status and the pursuit of consumerism surrenders to the constant attraction of the media. Strumbel raises significant identity questions with his work: How do I define Heimat? How do I perceive myself? How do I project myself to the outside world? How and through what do I define myself? With his art, Strumbel initiates a change in social values: Traditional ideals, clichéd notions of home and the reality of the individual are dissolved and transformed into an aesthetic that becomes an allegory of social status symbols. A German word that cannot be entirely translated one on one but loosely refers to heritage or home.
Another key aspect of this work refers to the concept of Heimat. Strumbel, however, creates both, a unique artificial and artistic aesthetic with his usage of extreme exaggerations in regard to form content. With their colorful and bright surface, the artworks appear as light and shiny pieces of Pop Art. At first sight, these objects don’t reveal any of the disturbing content but appear as beautifully crafted wooden sculptures.
By doing so, he puts the objects into a completely new and often provocative context, always pushing boundaries. He replaces significant elements of the cuckoo’s clock, such as traditionally carved ornaments with motives that deal with the subjects of violence, pornography and death. He made a name for himself by exaggerating traditional and cult artifacts such as cuckoo clocks, anchors and crucifixes and reincorporating elements of Street Art and Pop Art. His objects are collected by Karl Lagerfeld, Frieder Burda, and others.Stefan Strumbel is a German artist, born on in Offenburg. The aggressive defamiliarization of traditional attributes and the garish colors of Stefan Strumbel's works have proven widely popular. Local tradition thus becomes a cultural construction the cuckoo clock turns into an alien element and vehicle of the transference of individual identity. "Home" must here be read as a metaphor for experiences of socialization and the cornerstone of personal identityan identity that, in a globalized and increasingly digital world, takes on an anachronistic aspect. The critical engagement with the idea of the "homeland" is a central theme in Strumbel's art. For instance, he will supplant original elements of the cuckoo clock with motifs associated with violence, pornography, and death. He places cuckoo clocks, wooden masks worn during the local Carnival celebrations, or crucifixes in new and sometimes provocative contexts. 1979) overdraws the features of cultural products and cult objects from his native Black Forest by adding stylistic elements from Street and Pop art. For instance, he will In his prints, objects, and installations, Stefan Strumbel (b. In his prints, objects, and installations, Stefan Strumbel (b.
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