VITA

DON´T BE AFRAID OF ART

Artist_
designer_
master carpenter_

Don't be afraid of art - is the attitude to life of Nicole Doth, born in April 1995, which is ''reflected'' in all her designs. Literally. Early design: Growing up in a family of artists and furniture manufacturers in southern Germany with her own carpenter's workshop, interior design office and the registered furniture brand MÜNCH Furniture Design, she also embarked on the path of craft ART at an early age.

MASTER CARPENTER

Doth has already made a name for herself in the design & art scene as a young master furniture carpenter & designer. She skilfully combines/stages fragile materials, exciting high-quality surfaces with well thought-out constructions and moves in sculptural spheres with her three-dimensional elements.

Building on a masterly education, she loves the challenge of staging things that have never existed before, both technically and artistically. Your objects have the right to be shown to their best advantage in 360°, like a sculpture. In addition, they also have a high artistic standard. Many are also collectors of their artworks.

Their objects also have the claim to be shown off to their best advantage in 360°, like a sculpture. In addition, they also have a high artistic standard.
Viele sind auch Sammler ihrer Kunstwerke.

"MY MASTERPIECES ARE ART." FUNCTIONAL ART

The great demand for her work, which shines through individuality and authenticity, shows that Nicole Doth is also in tune with the times. It is therefore legitimate for each of us to represent our own reflection in life and lifestyle. With her objects, she calls out encouragingly to "Be YOURSELF - be yourself". No matter what others say or think about you and your "taste", set yourself free and live your "style" - the way you like it. ART TO BE.

In the showroom - ART DESIGN GALLERY - in beautiful southern Germany, you can be inspired by your works of art and be convinced of the high quality standards.

pARTicular ART

Under "Artists in residence", the artist_"master" also works together with creative people of different genres selected by her and thus creates unique art objects - across all genres.

"Don't be afraid of art - don't be afraid of art." is the motto of nicole doth

Who presumes to determine what art is? What is design...and what is not? Nicole Doth does not face the discussion. She does not separate; she skilfully joins together what does not need to be separated. The creations of the artist_designer_ master carpenter have the claim to be shown off to their best advantage in 360° design - like a sculpture! Nicole Doth combines her craftsmanship with an artistic perspective, adds "form follows functions" to "form follows function & emotion" and convinces with "FUNCTIONAL ART".

As a master of the craft of ART, she makes use of all its possibilities and breaks new ground. She inspires, provokes, questions, stimulates thought and seeks dialogue both in and with art and with us humans.
The multi-talented artist's work ranges from sculptures, functional art, photography and performance to digital art/NFTs.

NICOLE DOTH - FINDING NEW ANSWERS IN BETWEEN

TEXT: ANABEL ROQUE RODRÍGUEZ, CURATOR AND ART HISTORIAN

A TRIAD: CRAFT - DESIGN - ART

In Nicole Doth's case, her artistic career and her personal biography go hand in hand. She grew up in a designer family with its own furniture factory in southern Germany and became acquainted with the family as a space of possibility at an early age: It was here that she was given the basic building blocks for artistic thinking along the way, but also an understanding of materiality and form. Later, in her training as a carpenter and then as a master cabinetmaker, she quickly learned that even today it is a rocky road for women in craft professions that requires special perseverance and self-assertion. To this day, the theme of perception is an essential core in her work. Questions about how we perceive the world and position ourselves in it shape her artistic works.

However, it is not only a challenge for women to take up a craft profession. Basically, the profession of carpentry has problems attracting young people and is being taken up less and less often. This is certainly due to the physical strain of the profession, but also to the increasingly complex requirements.

BAUHAUS - GENDER

With her orientation between art and craft, design and visual aesthetics, formal language and the exhaustion of functionality, there is some overlap between Nicole Doth's artistic practice and the Bauhaus. The Bauhaus was a way of bringing together the vision of art and craft. Those familiar with the history of the school, however, also know that there was a change of direction as early as 1920, when almost as many women as men studied at the Bauhaus and women were already regulated upon admission out of founder Walter Gropius' fear that too many women could damage the school's reputation. With few exceptions, the textile class remained for women.

The digression about the Bauhaus is important, because Nicole Doth's art deals with many formal aesthetic ideas, but also has feminist elements without making it the central theme. You can't talk about craft without including gender issues, you can't talk about innovation without talking about entrenched structures either. In art, the credo of separating art from the artist has long been celebrated, yet contemporary art lives from contexts and making processes visible. How did a particular series develop? What factors led to ideas? Interpretation and the judgement of quality are always possible only with context. In Nicole Doth's case, the story cannot be told without the triad of craft - design - art. This becomes clear in her series of works on "mirror, mirror on the... throne". "mirror, mirror on the... throne".
„mirror, mirror on the… throne“ deutlich.

THRONES - IN THE MIRROR OF OUR TIME

Again and again, Nicole Doth explores the boundaries of functionality in her works, and this becomes particularly visible in "Throne". When is a chair no longer just a chair? When does it become an insignia of power? A chair tells us a function, namely sitting, a throne, on the other hand, shows context, asserts a claim to leadership. Suddenly, a functional object becomes a space for interpretation, which Doth expands even further by using mirrors as her material of choice.

The fragile material automatically positions itself in the space, because where the throne is built, the context is reflected. This creates an interesting inversion, for a throne, through its imposing nature, elevates the regent to the centre, while in Doth's work the mirror throne, through its reflection, blends into the context of the environment in such a way that it itself almost disappears. In some photographs, only the fine outlines can thus be discovered. The series questions power and claims to power: Who still has the sovereignty of interpretation today? Who presumes to determine where the boundaries of design and art run? Can art be democratised? These are questions that the artist and designer herself confronts again and again and meets with her personal credo "don't be afraid of art".

In this way, Nicole Doth explores the boundaries of functional art, objects that are primarily designed and created from a utilitarian character and at the same time have their own aesthetic or artistic aspect - art as part of everyday life. The central point, however, is that the throne could not exist without the craft behind it. Her throne does not want to sit theoretically in an ivory tower, but is meant to prove itself in action and therefore keeps changing its installation sites, such as on a gravel pit. Of course, the association between the throne and the colloquial term for money is obvious there, but it is also about thoughts on resources and waste.

The throne is also translated into the medium of photography, as it is artistically photographed in the places where it is set up. The supposedly utilitarian object thus experiences another level of content. The images from the series raise critical questions about the responsibility of humans in its production. In times of climate change and scarce resources, we have to ask ourselves what priorities we have to set. As the material of choice, the mirror holds up the proverbial mirror to us and invites us to engage in a socially critical discourse without making us believe we have easy answers. Taking responsibility ultimately starts with each individual, just as our reflection appears in the throne, we are the decision-makers of our lives connected to the world.

CONTEXT SHIFTS

Nicole Doth's works are interestingly located within various contexts between art and design, craft and formal language, and function and process. She keeps exploring the boundaries of functionality and continues to explore materiality. It is therefore less surprising that the objects are increasingly becoming tools of her thoughts and that she is currently moving from photography as a medium to experimenting with performance and also the subject of NFT.

Doth chooses a visual language that lures the viewer with harmony and aesthetics and can then direct the concentration to certain topics. It is an intelligent trick to a direct dialogue, because beauty has something disarming about it, especially when it comes to socially critical topics, because it opens up the space to engage with something new without provoking a dismissive attitude that one has with supposedly familiar images about certain topics. In general, Nicole Doth likes to take the direct route, while others still lose themselves in the boundaries of definitions, she finds new answers for our complicated world in the in-between.

SOCIAL COMMITMENT - CHARITY EVENTS BY THE ARTIST

Nicole Doth uses her art and skills not only to "express and communicate" herself, but also to draw attention to grievances. Her charitable projects and events are intended to do good and draw attention to disadvantaged people. Doing good, making herself "heard" - for children and young people who are not doing so well - that is a matter close to her heart with her "ART of work"!

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MIRROR

collections

Mirror, mirror on the...

After the master has already made a name for herself in the design and art scene with her Masterpiece 3² - a lowboard made of solid wood and Corian - she now uses the filigree element of the mirror in the Mirror, mirror on the... collection. Among other things, there are tables, coffee tables, beds, night consoles, sofas, chairs, kitchens, etc., as well as entire mirror room installations (walls). Translated with www.DeepL.com/Translator (free version)

Your objects can be integrated well, no matter what style the customer lives in. After all, the furnishing style is often a mirror of ourselves and our soul.

No matter whether it is a matter of individual designs or individually designed complete room concepts in interior design planning for private and business use. The customer can have his wishes and ideas fulfilled in Nicole Doth's manufactory/studio. Or he can let himself be "inspired" and advised by the artist.

Dialogue and exchange with people is also important to the master. Her art objects invite conversation. By listening, Doth is able to realise the visions of her counterpart - regardless of whether it corresponds to her own taste or that of another.

With her mirror collection, Nicole Doth not only stages individual works of art, but also room installations are her metier. And since nature and the environment are also part of the space, she immortalises her hand-signed unique pieces in artful photographs in precisely these rooms. The artist often uses the places of placement to communicate a socially critical context - she calls on people to "look more closely".

NICOLE DOTH

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