The superimposed image of my eye was printed on a cyba chrome slide illuminated from behind.
The cut out cross lines in the center were flashing red.
I have used this symbol often, it projects not only the aim towards a target, but more importantly the focus of our attention.
Three big steel spikes were hung on steel cables from the high ceiling, threatening the audience from above.
This imaginary threat places us within the spectrum of our pending fears.
Part of this installation was also a thirty square meter wall, made from polished stainless steel,containing numerous 'impact holes’ in its surface.
The reflection was deformed and sometimes disappeared entirely.
I have subsequently employed this method for other photographic prints.
“An atmospheric experience and impact in an indoor environment with visual and mechanical interaction”
The decade I was part of the art community at the 'Praterinsel’ was exceptionally dynamic. Many exhibitions were held in the vast facilities of this former factory.
Robert Rauschenberg, Jim Whiting and Keith Haring were among the luminaries represented.
This installation ran parallel with an exhibition by
David Byrne.
An interactive installation focused on the invisible, life giving element: Air.
Participants inhaled bottled oxygen from several tanks, while simultaneously being blown away by an aircraft propeller mounted in a cage.
The tornado print symbolises the destructive force of this invisible element.
This Installation was the stage of a live Performance of the same title in 2003.
Huge fallen trees were cut into pieces and stacked back on top of each other, then connected to oxygen tanks, which were positioned in the center of the field.
This Installation was performed at the Museum of Modern Art in San José, Costa Rica.
In Costa Rica there are strict laws governing the removal of anything from the beaches and the jungle.
This for the most part has prevented the country from being exploited.
The government, recognising its cultural relevance saw fit to grant permission to use this protected resource.
This piece resonates deeply within my self,
experiencing a profound connection with nature.
The Bridge is my largest public project to date and one of the largest installations within Costa Rican cultural history.
I worked in collaboration with the National Museum and the Ministry for Cultural Affairs.
I was honoured to install this bamboo structure on top of a bridge in the center of San José City.
Due to the heavy daily traffic we needed to work throughout the night utilising the protection of the police department.
All the materials were prefabricated at my studio,
then transported to the capital to be assembled.
Over time I evolved a peg and hole method to construct my bamboo structures.
We were granted only two weeks to assemble this project,
this method proved seamless and efficient.
I presented a one to ten model to the Department of Engineering illustrating my proposed method of construction.
It got approved.
The Bridge, approximately twenty meters high, overlooking one of the main highways, was public for nine months.
It essentially highlighted the contrast between an urban and an organic environment.
Mark Huebner is known for his diversity within his expression of art.
Spontaneous and flexible, his work is amenable to immediate life circumstances.
His former experience of the industrial and the steel hard core work now melting together with the experience of living in a jungle wilderness, the artist, now back to his canvas, creates a metaphysical combination of both worlds.
He explores the idea of “a perfect nature”, or what we perceive as our origin, threatened by our endeavors and our urge to explore nature beyond our planet.
BIOTOPE-CONTAINED, PAINTING/DIGITAL, ©2018 ➞ PROJECT PATH: NATURE IN DEFENSE™
TRANSPORTER, PAINTING/DIGITAL, ©2018 ➞PROJECT PATH: BIOTOPE-CONTAINED - NATURE IN DEFENSE™
BIOTOPE-CONTAINED II, PAINTING DIGITAL, ©2017 ➞PROJECT PATH: THE LAST SUPPER
SPIKE III, PAINTING DIGITAL, ©2018, ➞PROJECT PATH: IMPACT ZONE™
SPIKE-BIOTOPE, ©2018, PAINTING/DIGITAL, ➞PROJECT PATH: IMPCT ZONE™
IN VITRO, ©2018, PAINTING/DIGITAL, ➞PROJECT PATH: DEATH BEDS
ATTACK, ©2018, DRAWING/DIGITAL, ➞PROJECT PATH: MIND ATTACK
TREE-CONTAINED I, ©2018, DRAWING/DIGITAL, ➞PROJECT PATH: ATMÓSFERA
TREE-CONTAINED II, ©2018, DRAWING/DIGITAL, ➞PROJECT PATTH: ATMÓSFERA
SPIKES, ©2016, PAINTING/DIGITAL, ➞PROJECT PATH: NATURE IN DEFENSE/ DEATH OF NATURE
INVITRO II, ©2017, PAINTING/DIGITAL
INVITRO III, ©2081, PAINTING/DIGITAL, ➞PROJECT PATH: BAMBOO ROCKS
TREE, ©2017, PAINTING/DIGITAL, ➞PROJECT PATH: DEATH OF NATURE
PORTRAIT, ©2018, PAINTING/DIGITAL
SELF-PORTRAIT, 2018, PAINTING/DIGITAL
Impact Phenomenon' developed to be a major part of my work.
This series is showing different stages of exposure as the force of penetration increases.
These Impacts were photographed, enlarged and then reproduced as screen prints on steel plates.
DEATH BEDS
2.6m by 0.7m each
steel, tar and concrete
This sculpture was made in 1991 and although my work is by far non-political,
the heavy warfare during the gulf crisis is reflected in this piece.
Death over oil and the dessert environment, symbolised by the rusted carcass and a solid block poured from tar.
No war without a bomb dropped into the vast fields of disaster.
photographed here by Christoph Hellhake @Airport Studios Munich