Biography

Pit Wagner was born in Luxembourg in 1954. He discovered plastics arts at a very young age. Between 1976 and 1979, he attended graphic and illustration classes at the Gerrit Rietveld Academie in Amsterdam. in 1980, he dedicated his artistic endeavour to illustration, graphic design, painting and engraving.

He organised exhibitions, travelled around the world and taught nude drawing at the Académie d’été in Luxembourg. From 1984 to 1986, he started a training as a farrier, eventually leading to a diploma with honours.

He is also passionate about steelwork and forging techniques, which he uses for his sculptures. In 2006, he obtained a master’s degree in lithography at the Centro Internacional de la Estampa Contemporanea in Betanzos, Spain.

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Career

Exhibitions:

    • Recent solo exhibitions (selection):
        • 2016 “Tout Nu” Aalt Stadhaus Differdange
        • 2015 “Gravures” Dongsi Wutiao Beijing, avec Asun Parrilla
        • 2012 “Reframed” Gallerie Schalssgoert Esch-sur-Alzette
        • 2007 “Navigation à vue” Maison du Luxembourg, Bruxelles

 

    • Art interventions (selection):
        • 2010 “Mundo Liebre” Installation-environnement autour d’un lièvre bleu en peluche, Salon CAL
        • 2010 Illustrations et peintures murales au Musée d’Histoire(s) Diekirch
        • 2002 “Viet Nam” Dessins réalisés lors d’un voyage au Vietnam. Exposition itinérante
        • 2002 Illustrations et peintures murales au Musée Victor Hugo à Vianden (L)
        • 1998 Installations au Pavillon Luxembourgeois de l’Exposition Mondiale
        • 1998 à Lisbonne

 

    • à partir de 2005, Création de 12 timbres-poste

 

    • Les arts graphiques, la gravure :
        • depuis 1995 gravure en taille douce
        • Membre du collectif EMPREINTE atelier de gravure a.s.b.l. depuis 2004
        • Nombreuses expositions collectives, France, Belgique, Chine…
        • Salon CAL 1999, 2009, 2016

Major artworks and long-term projects: 

    • Le Nu : 1977-2016 L’expression pure du corps humain. Dessins, peinture, sérigraphies.

 

    • L’Orchestre : 1983-2008 La machine à musique humaine. Dessin pendant les répétitions de l’OPL. Dessins, peintures, gravures, timbre-poste.

 

    • Le dessin d’audience : 2008-2016 Dessin sur le vif au tribunal. La justice, les codes, la loi, l’homme face à la justice. L’humanité dans tous ses états.

 

    • 56 dessins dans la collection du Musée de la Ville de Luxembourg. 3 dessins au Salon CAL 2014 Presse : Tageblatt, Revue, Land, ARD

 

    • Publications : 2014 “De Bommeleeërprozess, eng Staatsaffär”, 128 pages 2015 “De Bommeleeërprozess, et geet ganz héich”, 128 pages Le plus long procès de l’histoire Luxembourgeoise raconté par les dessins d’audience.

 

    • La sculpture : 1990-2010 Bois, acier, marbre. Matière et méditation, le rythme du marteau, la respiration. Retour au travail physique en alternance avec le dessin et la peinture.

 

    • Salon CAL 1992

Techniques:

Pit Wagner works with different means of expression. For his research, he uses the intaglio technique as a “limitless means of expression”. Engraving allows him to do experiments and discover new things. Printmaking gives him the opportunity to keep the original aspect of the multiples he creates. As a drawer, he developed a strong affinity for Indian ink as well as bamboo pens, quill pens and brushes, which are his favourite tools for on-the-spot drawings. Pit says that “Everything that can leave a trace is a valuable tool to me”. For his sculptures, Pit Wagner creates steel, wood and marble constructions (2008-2011).

Steps:

Pit Wagner uses every means of expression at his disposal: photography, writing and cartoons are just a few examples when working on an image or an idea. His interest for far-eastern cultures and philosophies have driven him to find out more about the liberty of motion. This research is also about precision and brushing away the superfluous. In 2002, The Ministry for Foreign Affairs gave him the opportunity to work on an artistic project based on the Cooperation in Vietnam. Pit travelled to said country and explored its customs and culture, which allowed him to take the creative process even further.

Themes:

Here are a few themes found in Pit Wagner’s work:

    • The human being: “Women and Men express their existence in the purest and most honest way when being nude. Nude drawing is very important to the artist.”

 

    • The representation of animals: “Pets accompany the human being and its culture. I like to draw them, paint them and interpret them for fun and their symbolic potential.”

 

    • Music: “Drawing during an orchestra rehearsal, a band practice or a soloist. For the simple pleasure of listening to music and the challenge of  transposing music into images. Melody, rhythm and atmosphere have an impact on the end-result. The philharmonic orchestra is a human music machine with individual virtuosos. A sociological group. An abstract image.  I have often drawn in the middle of the OPL with the conductor’s kind permission to get new interesting perspectives. Diving into a musical universe. “In situ”. I love being on site.”

 

    • Drawings in court hearings: “To study the human condition, there is no other place like court houses. I have attended many court hearings and trials in which I was confronted to each and every aspect of the human nature. On-the-spot drawing in a court house, documenting places and people, understanding gestures and movements, an expression, a look in an institution where cameras are prohibited. As an artist, I have portrayed some of the longest trials in the history of Luxembourg. Body language, as well as verbs and rhetoric have deeply contributed to my sociological and political analysis. They fuel the way I approach art. “In situ” once again.

 

    • Cartoons: “Cartoons have influenced me as a child up until now. Thanks to Hergé, Pratt and many others, storyboards became an integral part of my visual heritage. How time evolves is what makes the difference between music and plastic arts. A series of images in a single painting is a way of distancing yourself from short snapshots and looking at longer sequences.”

Art Scene