Anna Lorenz

  • Anna Lorenz Oculus365 detail - Copy.jpg Oculus 365, 2013. Stainless steel circular frames, sandwiched contact lenses and nylon thread. Photo credit: Graham Hughes.
  • Anna Lorenz fleece detail - Copy.jpg Fleece (Detail), 2013. Newsprint cut and layered. Photo credit: Anna Lorenz.
  • Anna Lorenz 'fleece' - Copy.jpg Fleece, 2013. Newsprint cut and layered. Photo credit: Anna Lorenz.
  • Anna Lorenz overview of exhibition - Copy.jpg Overview of the MA Show, 2013. Range of sculptural work. Photo credit: Graham Hughes.

What inspires me

I aim to create objects or sculptures of a quiet and contemplative nature and hope that the viewer finds a moment to enjoy and connect with this aspect.

Inspiration comes from life itself, art and meaningful contemporary architecture as well as a curiosity about the deeper meaning of life. I use the square as a main motif and create grids with a structural and spatial quality. Tension between the void and the material of the grid is a key point in my work. 

I use traditional silversmithing techniques such as raising and also new technologies, such as laser cutting, laser welding and stamping using a pneumatic press.  

Making in the Midlands

I am originally from the South of Germany but have studied, lived and worked in Birmingham for the last fifteen years. My creative and professional development has mainly happened here. I experience this city as a place where I had the support and nourishment to find my personal direction and this is still ongoing, very important and enjoyable.

I have a workshop in the Jewellery Quarter and work part time in my professional field at the School of Jewellery. I have run workshops in the Jewellery Quarter Museum and was a mentee for the ‘Future Forward 2’ by Designer Maker West Midlands in 2010, a programme that helped me greatly to develop further.

What has changed most about the crafts in the last thirty years

I have observed the closure of quite a lot of craft-based courses in higher education and this will have a knock-on effect on craft practice in general.

The speed of contemporary society and the ‘flatness of the world’ through internet and phones have had an impact on the younger generation. Taking time to make seems an effort and thinking in 3D has become increasingly difficult. The economic problems have definitely had an effect on selling work and thus the possibility to make a living from ones practice.

In a positive sense, craft seems more audience-focused and participatory with young people taking part in Birmingham. Perhaps this would be the way forward to reintroduce craft to the younger generation in ‘a hands on’ way.