George Riad Krohn
I am a Norwegian artist deeply committed to my craft, currently pursuing a master's degree at Oslomet while cherishing my rich Egyptian heritage. My artistic journey has been a fervent odyssey, a continuous exploration of a myriad of creative techniques that have evolved and matured over the years.Within the canvas of this website profile, I am thrilled to unveil a curated collection of my most captivating creations. These works of art predominantly revolve around the exquisite mediums of pyrography, watercolor, oil painting, acrylics, and the innovative fusion of mixed media.My pyrography illustrations serve as powerful vessels for expressing political ideologies and the profound emotions experienced by people, all with a shared vision of forging a brighter future for humanity. At the core of these creations lies a profound belief in freedom in all its forms, serving as the cornerstone of my artistic endeavors.Within my artistic repertoire, pyrography seamlessly integrates with other techniques, infusing my works with a distinctive tactile quality. It bestows upon the viewer the unique opportunity to physically engage with the art, to run their fingers over sunken areas etched into wood through the intricate process of burning. This tactile experience complements the visual aspect, offering a dynamic interplay of texture that evolves with each motif.
“The Holy Chains” This is a wall installation crafted from wood and metal, comprising three layers incorporating diverse techniques such as pyrography, carpentry, and hot metal forging (specifically copper) with chemical surface treatment. This installation measures 120 cm in length, 90 cm in width, and has a depth of 24 cm. Its underlying message revolves around the notion of cultural heritage spanning different generations. Consequently, the deliberate selection was made not solely to showcase the tangible elements or objects passed down through generations, but to convey the thematic essence of “cultural heritage” through a project that seamlessly melds both wood and metal, as well as two and three-dimensional components. The design places significant emphasis on the interplay between perspective lines and elements. To this end, I drew inspiration primarily from the artistic works of M.C. Escher. The bridge or box featured in the installation serves as a symbol of time, with the inception point concealed from view. What is discernible is solely the terminus, representing the “present” when one gazes upon the project. The central figure, a woman, embodies those individuals who strenuously safeguard the religious and traditional heritage, passing it on to subsequent generations. Each object suspended from the bridge symbolizes different generations, and the embellishments adorning these objects represent the inherited cultural aspects. The solitary metallic object symbolizes the current generation, in the three-dimensional form, as it corresponds to our contemporary existence. The bridge, too, is rendered three-dimensional, mirroring its lived experience. However, the woman straddles the boundary between two and three dimensions, embodying the collective identity of individuals past and present. The backdrop comprises two distinct layers. The upper layer, characterized by its black hue and culminating in the perspective lines, symbolizes science—the foundational pillars of our world, steadfast and concrete. The inner layer features the word “read” inscribed in various languages, symbolizing world religions. In contrast, the dry tree branches serve as an emblem of traditions. Both religions and traditions fade into obscurity in the middle, emblematic of the divisive nature of these topics and their role at the foundation upon which life is constructed. A metal circle, bisecting the layers, symbolizes faith, a facet that can be perceived through both religion and science.
Media & Contact
OsloMet – Oslo Metropolitan University – www.crafthub.eu/practitioner/oslomet-oslo-metropolitan-university/
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George Riad KrohnOslo – Norway
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