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Galeria Alvaro Alcázar Madrid
Frank Buschmann (1969-Pinetown, South Africa), artist / craftsman.
Trained as a industrial designer and cabinetmaker. Of German origin, currently living in Galicia, Spain. He spent his childhood in South Africa and Nigeria, his adolescence and education in Germany, where he studied cabinetmaking at the Karlsruhe School of Crafts. In the Netherlands he studied Industrial Design at the Design Academy in Eindhoven, where he has been later teaching in the Master "man and humanity".
Frank argues that the mastery of a trade is a carrier of tools exemplary for the sustainability of the future. Being a master of a trade is not reduced to the virtuosity of handling some techniques but also supposes a long learning to recognize and cultivate specific attitudes and values. With this approach, Frank intends to recover and maintain the knowledge and practice, not only of the traditional techniques and processes of cabinetmaking, but also its values: patience, intuition and the search for perfection. The virtuous management of techniques goes through the learning of values and attitudes and, all of them, he considers, are universal tools needed to deal with the complexity of the future.
Professionally, he started his career in production linked to industrial design, working for Job Smeets, Hugo Timmermans and Piet Heijn Eek. Later he specialized with his own studio 24h-living in exhibition and spatial design, developing proposals among others for Lille European Capital of Culture, ED-Awards (European Design Awards), the Design Academy of Eindhoven or Matadero Madrid, where he was part of the founding team of Intermediae (2006- 2012), a public Institution, dependent of the city council of Madrid, for contemporary artistic production
Buschmann has designed and produced events, galas, caterings, exibitions for private and institutional clients in the Netherlands, France, Spain and Japan
In 2011 he founded Wudthing.eu, to launch a series of "low-cost" furniture of industrial production.
Since 2012 he is dedicated to the recovery of the traditional craft of cabinetmaking
He opened his own workshop in 2011, first in Madrid and then later moved to Corcubión (Galicia).
In 2019 He received the Galician crafts award for the project "Monas"
In 2020 he received the Antonio Fraguas Fraguas award for the chair "Samba de una sola nota".
Buschmann has developed and produced a wide range of works, colaborated with artists and designers, produced reproductions as objects of study, own designs and specific pieces commissioned by private and public clients.
worth mentioning are the new confessionals for the cathedral of Santiago in colaboration with architects Luis Gil Pita and Cristina Nieto or the new plenary table of the city council of Corcubión
Buschmann has shown and communicated the approximation and work to a wide public through exhibitions such as the collective "Da árbore a cadeira" in 2017 in the City of Culture of Santiago Compostela or individual exhibitions such as "made of stars" at the RAC Foundation in Pontevedra in 2020 or in 2021 in the Gallery Álvaro de Alcázar in Madrid, which also presented his work in varios editions of Arco Madrid.
Buschmann has produced a documentary together with the audiovisual producer Juan Alarcón to show the traditional work process in this trade. It is called "A good work" which has been exhibited in different contexts.
In the field of training and education, Buschmann has shared his knowledge and experience in the context of crafts through workshops and conferences in Universities such as ETSAM (Escuela Técnica Superior de
Arquitectura de Madrid), the ETSAC (Escuela Técnica Superior de Arquitectura de A Coruña)
or the CA Institute (Compostela Arquitecture Institute) and in training centers of Arts and Crafts such as the CIFP Someso in A Coruña, the EASD in Ourense and the Fundación laboral Santiago de Compostela.
In the context of Design Buschmann has taught in the master program "man and humanity" at the design academy Eindhoven and at the IED madrid
Feito de estrelas (made of stars) catalog (2021)
My work as a craftsman is an exploration into integrity. The object, its production process, and its relation to life in this world are the medium.
My creative process is a consecutive transfer of planes, in which the final shape of the object preexists in all previous planes. The perfection of the object depends on each and the sum of all these planes. Each step then demands perfection in itself. Each step is the object.
My approach towards integrity is inseparable from the ideas of “perfection” and the “infinite” as expressed in the coastline paradox, the origin of the chaos theory. It describes the dilemma one is confronted with when trying to define the length of a coastline. The length of any coastline depends entirely on the methodology one applies to measure it. An infinitely small measuring unit will lead to an infinite coastline.
Wood is my material of choice. Its physical characteristics, its beginning, and its endless transformation through time not only stimulate but demands a holistic approach when working with it. Not respecting its internal tensions and dynamics related to its context will lead to a flawed object.
A piece of furniture provides a direct link to our physicality and thus integrity. Wooden furniture accompanies us through life, from birth to death, from cradle to coffin. It exists as an omnipresent link to nature and thus to ourselves, as we too are a part of nature, just as the tree was before the furniture.
One's perfect life, one's perfect “happiness” seems to be inseparable from the idea of the perfect object. In the world, we have created so far, and every day more so, it seems the only way to sustain life is through objects and so life itself becomes an object. In reality, however, life has no fixed physical finality other than forming ephemeral links to sustain the circle of life. It is dynamic and forever changing, just as wood or any other element of nature. The greatness of life lies in the living itself, which is, in the end, each and every infinitely small step we take. Shortcuts, we are so tempted to take, only cut life short.
My most important reference is the tree, which provides me with the raw material for my work, a wise being that connects the heavens with the earth. It is the tallest and one of the oldest living beings on the planet, a master of engineering as Claus Mattheck explains so well in his essays on biomechanics. And if we think of the sum of each of the trees, the reference becomes nature and we call it landscape.
We are landscape before we are born and after we die. In between we are landscape architects. And as those, in response to our limitations, we have positioned ourselves at the center of everything. I believe it is time to bury our egos and listen to nature.