Ida Harm

Ida Harm
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I remember very well my first creative impulse which pushed me to express an emotion through drawing: it was in 1999 a year in which I travelled a lot between green lush countries of Northern Europe and barren deserts of North Africa where life clutches at every last drop of humidity.

Ida Harm
Olive tree on Tuscan hill, diptic 100 x 200 cm

In this pilgrimage the tree is an element of the landscape which captures and strikes me, a fascinating conducting thread that, like a small seed, embeds itself and begins to root itself across many questions, visions and intuitions. In that very moment I started working on trees.

Ida Harm
Birches, diptic 150 x 200 cm

Alongside this subject, is the written word, often taken from English poetry or prose. Those words, as the rustling of the leaves, spurts murmured words, emphasizing the concept, suggesting images that work on the subconscious of the observer like a brain-storming.

Ida Harm
Wood in the snow, 100 x 150 cm

Analyzing backward the evolution of my trees, I then realized how much I have personally changed and how trees, gardens, forests, seeds where writing my biography throu images and symbols.

Ida Harm
Old Chestnut trees, 200 x 100 cm

At some point the lonely holy tree transforms into a forest with reduced dimensions, a
pastoral wood, where a path is merely suggested, often shown up by the light. In this wood the plants are those that suggest to the vagabond, the pilgrim, the nomad the way but without ever wholly revealing it.

I am getting lost in this concept at the moment..

Ida Harm
Oak and vineyard, diptic 150 x 200 cm

Ida Harm
Tree stories, 150 x 100 cm