1971 Bild und Bildnis (picture and likeness)

W. Berlin, E.Germany

Visual precedence from architectural drawings, maps and the grand scale and drama of traditional historic painting. At the same time they intersect by inserting movement and social patterns within the static mapping of urban planning and structural engineering. I was reading ES KOMMT DER NEUR FOTOGRAG by Graff (1929) developed a coded abstract language onto a figurative and representative world. Layers of place, space and time impact the formation of personal and communal identity. Maps, newsprint and graffiti are among my visual sources. To keep a degree of fidelity that deepens and unfolds in life ineffable and subtly sensuous, to merge the empirical with the transcendental. Sculpture is concerned with what surrounds us and shapes our everyday existance. Architecture and the urban environment ironically timelessly transformed into something symbolic with a look of architectural permanence.

My sculptures comprise self-contained stages for invented scenarios: ruins of architecture and devastation. The material scavenged from dertrifus of some post-apocalyptic landscape, discarded clothing and mirrors arranged in diaramas depicting turbulant struggles within the ruins of an industrialized society.

Setting up a notion of doubling and reflection. The follower mirrors the followed. Double-shadow, a blank in which the viewer sees himself in a priori neuro-physiological cognitive system. The art would start with an existence as catalyst of a symbolic whole, making painting a sculpture hybrid.

The eye became a symbol and reference to voyeurism, in the multiplicity of a cultural. Based on Bildung—education steeped in culture and grounded in the classics. Exhibited in the newly established Frei Berliner Kunstausstellung.

Rulers and tape measures, reference the arbitrariness of measurement in the man made world. The works are an iteration, anti-nature anti-mimetic. Red arrows suggest imminent dynamics, moments frozen in time. Constructs, ascribe to an existential power of substance, natural and the industrial synthetic.

The metaphor, “allude to Tiergarden, a venerable old park in the center of Berlin. Beauty and destruction mark the park’s history. The works echo a sense of resonance and human extension. Transparency confusing our instinctive grasp, creatures are simultaneously, flesh , root and mineral.

24. Phantom Limb

This work is predicated on Dionysus myth about dismemberment. Inherently abstract, marks coalesce the blackness of graphite and cast bone. Anamorphic techniques have held great interest to suggest the existence of double image anamorphous.

25. GRENZVERWISCHER (an eraser of boundaries)

Inspired by the musical collaboration of Lenin and Yoko on the Beatles’ White Album. I used miniature tape players to randomize the audio loops of the outer world into the ‘inner’ world of sound. The T- shape became a metaphor for the purifying process, based on the sun using its strong gravity compression, causing fusion and creating tritium. I start in January, one for each month. The work echoes the shifting in human relationships. Incorporate taxidermy specimens, their immobility suggest mortality in the creation of a pictorial idiom.

27. Actaeon and Ooyevaar (stork) May

In Roman mythology the stork’s black wing quills and red beak and legs were sacred to Venus as they herald in new birth. A Norse legend says this bird received its name from a story that a stork flew around the cross when Jesus was crucified and cried Styrka (Strengthen). Actaeon is caught watching Diana and her nymphs’ bath. As punishment, the goddess Diana transforms him into a stag, then his own hounds devour him. The female figure that holds aloft an unstrung bow is a personification of the goddess’s vengeance. Not as that of hunter—acute, focused—but of the hunted: wide and peripheral, fugitive and vulnerable. The piece drifts downward diagonally with dark extensions that look like raspy bird legs. Rulers and tape measures reference the arbitrariness of measurement of time and space. The works are iteration and emphasize boundaries.

28. DIAMISMO DI STANTIFFI (Dynamism of Pistons) August

A reference to Hoffman’s well known theory of the planar push-pull of colors as well as to the mechanical action of the piston. The economics of production including that of art and on power, art like labor as a commodity. A cloven crutch separates the sun and the moon. The use of mathematic symbols asserts as axiomatically, the hold on the moon. A smoking cylinder positioned vertically in the center, forms a piston. Detachment from reality creates multiple reflections of imagery and layers of illusionism that compare the view of spatial depth with the planar surface; I make transcendent space of equilibrium between polarities.

33. MACHT TOTE LEBENDIG

(Bring the dead to life)

34. THE BEGINNING OF THE SHARPNESS

A life is a search in which one finds ones own voice, hermetically sealed. The son of Apollo, Asepses the healer was trained by a half-man half-horse.