Citing an article written by journalist Lothar Warscheid:
'During her six-month stay in India, Lilo Kinne became familiar with the mysteries of Far Eastern religions. She penetrated the subcontinent and visited renowned Ashramas (monastery-like communities) to come close to the secrets of Hinduism and Buddhism. What was particularly remarkable for this German thirsty for knowledge was her encounter with the Ashramas of Sri Aurobindo in Pondicherry, and of Gandhi in Warda. There she stayed for a long period of time and had many intensive discussions. These experiences still mark her art and her attitude towards life and death to this day. Lilo Kinne is a fervent advocate of the theory of reincarnation. She is convinced that she has already lived several times and believes that most people have indeed existed somewhere before. . . Lilo Kinne's philosophical basic attitude is reflected in her paintings and other works. Lilo Kinne's work with furniture or other objects aims at elevating these objects into another surrounding and onto a new plane of consciousness.'
She calls this creative process TRANSCENDENCE OF MATTER. Warscheid explained:
'Lilo Kinne believes that man, through reincarnation, advances to a new plane of consciousness, just as furniture or other material can be transformed by great art and moved onto another plane of consciousness. . .'
At the Art New York 1980, the international fair of contemporary art in New York City (October 7-12), Lilo Kinne exhibited her works. In September of 1980, while in Paris, Lilo Kinne painted the clothes she had once worn on her expeditions to India, Nepal, Thailand, Japan, Egypt, Greece, etc., and created the Spring Object. During the opening of the Art New York 1980, these pieces were once more slipped on and exhibited later at the Centre International de la Peinture in Paris. With this single show, Lilo Kinne laid the foundation for her work in the 1980s.
'Frankfurt Period':
In the Spring of 1981,
her son, Satya Seth, was born in Frankfurt. During
the Frankfurt Period, throughout 1981 and 1982, more and more objects were
transformed into sculptures. The most significant sculpture / art object highlights
of Lilo Kinne's creative period in Frankfurt are:
-The 'Frankfurt
Global Wall Painting' (5m x 2.3m, covering a large wallspace in the dining
area of her living / working space in the Westend), which was removed and
preserved when she moved to Paris;
-The 'International Consciousness Painting', as an assimilation of many of
the places worldwide to which Lilo Kinne has traveled (on silk base, 6m x
1.2m, which was rolled and transported throughout her travelings to different
cultures), which was also finished in the Westend studio on Kronberger Strasse;
-The 'Frankfurt Furniture Series' (3 pieces: the Paris Dresser, New York Table,
and the Tokyo Object, which were created on Christmas 1981, which was the
first Christmas of her son, Satya Seth), and with which Lilo and her son have
lived since they were transcended as objects.
'Paris Period':
In July of 1982, Lilo Kinne moved from Frankfurt, Germany, where she had lived for over one year, to Paris, France:
Latin Quarter, Paris:
The pieces of the 'Family Chair Series' (4 chairs: Paris, New York, Tokyo,
and San Francisco), and the 'Family Armoire Series' (World Armoire, Kitchen
Armoire I, and Kitchen Armoire II) were formerly elements of her grandparents
home in Schwalbach, Germany, before she transported the furniture pieces to
Paris, where they were painted / transcended. In the Autumn of 1982, the 4
chairs and 3 armoires were transformed in Lilo Kinne's studio in the Latin
Quarter near the Sorbonne.
The artist's living / working space in the Latin Quarter was transformed into a performance space in 1983 (ART SPACE - PARIS). Here Lilo Kinne transformed 3 doors into collage sculptures with texts and photos from different cultures. She painted 2 walls, one with a text. Her period in the Latin Quarter was marked by regular MULTIDIMENSIONAL ART PERFORMANCES in the ART SPACE, and in the Jardin du Luxembourg, where she wore her 'transcended' clothes (clothes which were painted and transformed into artworks). Some of these artworks were exhibited in the Centre International d'Art Contemporain de Paris, and at exhibitions at the Grand Palais.
First Quarter, Paris:
From the Summer of 1984 through the Summer of 1989, Lilo Kinne lived and worked at Rue Jean-Jacques Rousseau in the very heart of Paris. Some of the most important 'Transcendence of Matter' objects from this period are:
-The 'Paris Golden Armoire and Desk Series' (2 armoires, 2 desks, and 1 stool) in 1987;
-The 'Paris Work Table Series' (2 tables, 1 small table, 1 bistro stool, and 1 bar stool) in 1989.
Whenever Lilo Kinne transforms furniture or any other objects, she involves foil, paper, or other material into the creative process. Therefore, along with the 'transcended objects', other artworks such as works on paper and works on foil come into existence. Examples are the 'World Series - A' and 'World Series - B', which belong to a series of works on paper that have been created together with the 'Family Armoire Series' in 1982 in the ART SPACE - PARIS in the Latin Quarter.
Citation from the book LILO KINNE - MULTIDIMENSIONAL ART, 'Biography':
'Lilo Kinne sees her present life as an integration and harmonization of various already embodied personalities, each pursuing partial goals in its unique epoch and culture. To re-activate these potentials of special knowledge and abilities, specific feelings and emotions, from specific past existences, Lilo Kinne, guided by her subconscious, first penetrated, intellectually and emotionally, fields of science and different cultures, to which she felt attracted.
After studies in Technical Medicine, from 1968-1970, research with radioisotopes allowed her to develop extreme manual precision and to study in great detail the principles by which matter acts. In this period, Lilo Kinne painted as a means of self research and therapy. While conducting further studies, between 1975 and 1979, in the fields of Philosophy, Fine Arts, History of Art, and Education at the University of Stuttgart and the University of Tuebingen, Germany, Lilo Kinne founded the Institute for Research on the Existence (I.R.E.) in 1976.
From 1977 - 1981, several long term in-depth explorations were realized, in Asia (India, Sri Lanka, Nepal, Thailand and Japan), Africa (Egypt and Sudan), North America, and several countries in Europe, during which Lilo Kinne assimilated and united within herself many essential elements of human existence. In 1980, due to specific circumstances, and as a culmination of a purification process, Lilo Kinne destroyed all autobiographical material, paintings, manuscripts, and personal belongings which she had accumulated. This detachement from herself, together with the birth of her son in 1981, led Lilo Kinne to her perception of being a multidimensional personality. An additional important emotional catharsis, related to a former existence, took place during Lilo Kinne's period of life in Paris, France, from 1982-1989.
Lilo Kinne creates her art as a mediator of values of consciousness. The artworks document in their synergy and mutual completion of the verbal and visual expression, a highly complex consciousness perceiving existence in its multidimensional complexity.
The range of Lilo Kinne's
current artistic expression includes the integration of different media, and
encompasses art audios, art video films, art CD's, multimedia installations,
single- and multi-panel paintings, photographs, handwritten texts, sculptures,
and multidimensional art performances (involving elements of Lilo
Kinne's multidimensional painting, multidimensional dance &
theater, photography, slide projections, video films, tape recordings).'