Hella Berent: I am an artist who inspires happiness

Between 1998 and 2014, Berent was a pioneering force at the European Ceramic Work Center in the Netherlands; she attempted to make ceramic mirrors and experimented with azure, cobalt, and turquoise in her blue-glazed brick wall pieces.

As a member of the German Artists Association since 2020, Berent's art serves as a bridge between herself and the world. It conveys a sense of harmony, using fragmented forms resembling cubes and rugged intertwining light beams to create new dimensions.

Al Majalla visited Berent's studio in the German city of Cologne, exploring her work made from ceramic, stone, wood and cosmic colours. On the sidelines of her current exhibition at Naples Al, we chatted with the artist about her life, travels, and art.

Prompted by existential questions on the meaning of death and the prospects of an afterlife, you visited Egypt in 1979, marking the start of a connection with the Arab world. How did that visit influence you?

I have a profound intuition when it comes to the destinations I explore and immerse myself in. I was born in Northern Europe, and ever since I studied fine arts in Hamburg, I developed a deep desire to travel through the Alps into Italy and then to North Africa.

My father passed away suddenly when I was quite young, with me at his side. Immediately, I began my journey to Egypt. The country's ancient mythology, antiquities, and culture were always inspirational to me as a young reader. The influence of Egypt on my art manifested itself in abstract and metaphysical ways.

The significance of the colour blue in your art is quite evident. What draws you to it?

Blue is the embodiment of life, vastness, and transcendence. To me, it symbolises a departure into unexplored realms, like embarking on a supernatural journey.

When did you first incorporate Arabic calligraphy, specifically your poetry translated and written in Arabic, into your artwork? What inspired this decision, and what does it add to your art?

In the 1990s, I received an invitation to collaborate with the European Ceramic Work Center in the Netherlands, which was searching for artists who weren't specialised in ceramics. During that time, I started integrating Arabic script into my art. It was a spontaneous shift in my creative direction.

I began a conceptual project centred around crafting substantial blocks in shades of blue and turquoise, and I realised that I could easily mould clay into various forms. Meanwhile, I was immersed in learning Arabic calligraphy, a passion close to my heart. I decided to impart meaning to my creations by inscribing them with my poetry translated into Arabic.

Your art breaks boundaries and allows you to express yourself in a broader sense. How does transcending cultural barriers contribute to an artist's identity?

This is a personal experience that moulds an artist's sense of self. Understanding the roots of one's inspiration becomes pivotal for an artist.

You've experimented extensively with blue and black. Of the two colours, which one resonated with you the most? Which did you find to be richer?

Well, that's a hard question to answer. There's a personal story there, mixed in with life's experiences and the voyage of exploration. The pursuit of space is a means to uncover and nourish one's consciousness along the path of existence.

Venturing into the depths of blackness has liberated me from the constraints of form. My fascination then gravitated toward blue, leading me to experiment with it to test its various meanings. As a result, a large part of my work is infused with variations of blue and turquoise. To me, this represented an exploration of the realms of thought and matter, along with diverse depictions of existence.

A connection between the human form and the earth is evident in some of your work. It invokes a sense of mythology, as if you endeavour to transcend historical confines, allowing the body to ascend into a free world. Do you attempt to liberate the body through your art?

The body I represent through my art is inherently free; otherwise, it would cease to be art.

An art critic once wrote that you seek to reach both the airy heights and the historical and mythic depths. However, you seem to be in search of something else. What is the reason behind this?

Through my personal experiences and based on my curiousity and love of life, I learned to move through the various layers and phases of history. Life, in my perspective, is existence, with history serving as a secondary character in the ever-changing narrative. The distinctive autonomy of history can be depicted in rock or clay geology.

What's occupying your time nowadays?

Right now, I am fully immersed in my exhibition at the Naples National Archaeological Museum in Italy, showcasing my new sculptural works. I feel thrilled; my dream has become a reality.

How would you describe yourself after all these years of innovation?

I am the artist who inspires happiness.