In the German village of Goldscheuer, the artist reconstructs the interior of the integrated 1962 Catholic Church of Maria. With his transformed objects, Strumbel successfully creates an illusionary world that reflects the sickness of society. He exposes the mechanism of a society that capitulates for status in the desire and pursuit of consumption on the constant appeal of the mediim. With his art, Strumbel initiates a change in social values: traditional ideals, clichéd notions of home and the reality of the individual are dissolved and transformed into something aesthetic that becomes an allegory of the social status symbol. How do I define home? How do I see myself? How do I project myself onto the outside world? How and through what do I define myself? Strumbel raises significant identity issues with his work. Ne other important aspect of this work relates to the notion of ‘Heimat’ a German word that does not quite translate in English, but loosely refers to heritage or being at home.
Strumbel, however, creates a unique artificial and artistic aesthetic with its use of extreme exaggerations to form content. With their colourful and bright surface, the artworks are reminiscent as light and shiny pieces of pop art. At first glance, these objects are not disturbing content but appear like beautifully shaped sculptures made of wood. In this way, he places the objects within a completely new and often provocative context. He replaces important elements of the cuckoo clock, such as traditionally carved ornaments with motifs dealing with themes of violence, pornography and death. His objects are collected by Karl Lagerfeld, Frieder Burda, and others.Stefan Strumbel made a name for himself in particular through traditional cult artefacts such as cuckoo clocks, anchors and crucifixes exaggeration and elements of street art and pop art which he reinterpreted. The aggressive defamiliarization of traditional attributes and the garish colors of Stefan Strumbel's works have proven widely popular. Local tradition thus becomes a cultural construction the cuckoo clock turns into an alien element and vehicle of the transference of individual identity. "Home" must here be read as a metaphor for experiences of socialization and the cornerstone of personal identityan identity that, in a globalized and increasingly digital world, takes on an anachronistic aspect. The critical engagement with the idea of the "homeland" is a central theme in Strumbel's art. For instance, he will supplant original elements of the cuckoo clock with motifs associated with violence, pornography, and death. He places cuckoo clocks, wooden masks worn during the local Carnival celebrations, or crucifixes in new and sometimes provocative contexts. 1979) overdraws the features of cultural products and cult objects from his native Black Forest by adding stylistic elements from Street and Pop art. For instance, he will In his prints, objects, and installations, Stefan Strumbel (b. In his prints, objects, and installations, Stefan Strumbel (b.
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