For me sculpting is an instrument of self- discovery, a possibility of understanding connections and deeper meanings of life. Touching spiritual levels, developing my intuition and receiving inspiration show me that life moves beyond the physical, mental and emotional planes. It is my goal to manifest the impulses I receive in a physical shape and to integrate my personal thoughts and feelings with what the piece of wood offers. What fascinates me is developing my own spirituality and personal growth, knowing that what manifests in my work can stimulate these planes in other people. Very early I discovered wood to be “my material”. I love to engage in a dialogue with part of a tree. Its long history and character contributes many impulses. So the work process becomes a joint venture in search of a new, unique expresssion and its physical shape.
Since 1987 many exibitions showed Simone C. Levy' work. In 1995 she won first prize in the international art competition “Offener Kunstpreis”. 1997 the public placed her second at the art competition “Goldene Palette”. Television reports and newspaper articles followed many of her exibitions in Europe. Her sculptures can be found in public venues and in many private collections. From 1996 until 2000 she worked together with ceramics-designer Lothar Schwarz. They experimented with the combination of their different materials, ways of working and points of view. In 2001 S.C.L. won her first public commission for a school in Westerburg. In cooperation with Lothar Schwarz she designed and realised three wall reliefs. 2002 two further commissions followed at two schools in Wirges, this time outdoors.
Extracts from a speech by H. Rosmanitz:
Simone C. Levy’s wood sculptures are in a certain sense landscapes. They are characterised by a floating lightness. Her work can easily be compared with important artists like her compatriot Alberto Giacometti. In both their works a similar fragile dematerialisation can be seen. Her work also shows the transition from a static object to one that seems to be moving. This dynamic flow combined with the contrast between massive wood and hollow spaces give her sculptures a playful lightness.
These tendancies can already be found in the work of Rudolf Belling (1886-1972) who still was grounded in cubism with its sharp edges and corners. Shortly after, Hans Arp and Henry Moore continued to develop Bellings principle to their characteristic sensual shapes, which can also be found in S.C. Levy’s sculptures.
Wolfgang Eschmann called her work “condensed music” which reveals sounds of the soul. Sounds with all of their beauty and ugliness. Looking closely, you notice that impurities are not hidden but refined and accentuated consciously. Even though her sculptures are very harmonious it is important to show the true nature of the material. Not perfection but truth is strived for. It is found and showed openly and then integrated into a suitable whole. A specific aspect reminds us of Michelangelo Buonarotti (1475-1564). He said that his figures were already contained in the marble. S.C.Levy’s sculptures also grow out of what she finds within the wood. The end result is proof of a methodical and powerful work process. At the same time the accurate and carful finish of the surface is proof of a highly technical discipline. Simone C. Levy’s sculptures are at the same time work of art, revelation and state of soul.
