The exhibition LOOPS & LINES brings together works by four artists whose different working techniques and the resulting works of art are as unusual as they are unique. Lars J. Fischedick (* 1968 in Freiburg i.Br.) has been investigating three-dimensional spaces for 25 years: through architecture, model making, sculpture and art installations. His career began in contemporary architecture, where he worked on various exhibitions, including Christo and Jean-Claude’s Wrapped Reichstag Project for Berlin. In 2002 he moved to Cape Town. By combining his knowledge of materials (such as wood and resin) with shifts in perspective, he has created a new artistic narrative form. His studies in projective geometry and mathematics, especially explorations from the personal inner perspective up to the geometrical infinite, have a great influence on his current work. His works lead to completely new spatial experiences for the viewer by questioning the limits of perception and making invisible aspects visible. In his own words: “My art is both logical and playful, mathematical and infinite.” Fischedick meticulously process multiplex panels which he saws into rays and worked with acrylic varnish and synthetic resin. This creates almost cosmic images and the viewer feels reminded of stars racing past. Jeremy Holmes (* 1984 in Ithaca, NY, USA) constructs abstract ash wood sculptures, seen as three-dimensional line drawings in space, they work in a unique way to construct a new and unexpected space. Holmes saws thin boards using traditional woodworking techniques, soaks the wood in water, and then uses a free-form bending method to bend the thin boards into abstract shapes, some of which are reminiscent of Möbius strips. Once the wood has dried, he joins the segments together in various configurations to create both small and large sculptures: free-standing, wall-mounted or ceiling-mounted. With his emphasis on materials – he works with a total of five different North American woods – Holmes is reminiscent of the minimalist design of the 1970s with clear and elegant shapes. But unlike minimalism, his work is playful and engaging; a more “accessible minimalism”. His sculptures make us think of the work of Richard Serra, whose unconventional use of natural elements causes the viewer to pause and perceive not only Serra’s vast work, but also how it controls and defines the space. Only hanging on a transparent fishing line or mounted on filigree metal plinths, Holmes’ works appear weightless and yet surprisingly robust. An extensive installation by the artist, consisting of over 300m of beech wood, was created in 2014 in the DEZ in Regensburg and can be admired there.The works of Mathias Hornung (* 1965 in Reutlingen) are very technically linear, architecturally effective compositions of lines, breakthroughs and protrusions and result in indecipherable codes, secret codes. The viewer recognizes codes which, however, consistently elude decryption. Mathias Hornung’s work is based on right-angled grids, printed on paper, three-dimensional on wood and with crater-like depressions that threaten to upset the uniform pattern. This is based on the metaphorical use of the grid as a means of creating uniformity and order that has served people as such since ancient times. As an aid to orientation, they are intended to prevent falling into chaos and imbalance. Topography and movement in time and space are structured in a controlled manner by such grids – but this theoretical construct is inevitably always permeated with irregularities and disturbances: Depressions and furrows already indicate the beginning of uncontrollability and chaos. The rigorously detailed creations by Daniel Rodríguez Collazo (* 1987 in Havana, Cuba) often break the line between photographic documentation of architecture and surrealist visions of the future. Collazo’s works of art are created in a variety of media such as charcoal, graphite, acrylic, and drywall materials and are consistently inspired by real cityscapes, often from his hometown Havana, Cuba. The artist’s Havana is always a city in which the existence of man is suggested by his transforming action rather than by his physical presence. Works from the “Resonancias” series will be shown. The small-format works are all in black and white, occasionally a brownish paper appears that is part of the plasterboard with which the artist works. These are reliefs, cut into plasterboard, which, thanks to their different depths, different materials and colors, as well as their perspective representations, provide very unique visual experiences. It shows abstract, three-dimensional architectural facades, which create optical illusions in the viewer in a tangle of lines and edges.


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