WOLFGANG FLAD. Coryllis erscheine. 29.01.2010 – 20.03.2010

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english / deutsch

Galerie Reinhard Hauff is pleased to announce the exhibition „Coryllis erscheine“ by Berlin artist Wolfgang Flad (*1974). The artist’s dynamic works—contrasting geometrically precise with amorphous, organically fluid forms—were last presented at the Galerie Reinhard Hauff in 2007. Since then, Flad’s sculptures have entered the collections of institutions such as the Kunstmuseum Stuttgart and the Kunsthaus Zürich. In “Coryllis erscheine”, Flad ‘s volumetric objects explore the theoretical potential of scientific models and reflect the artist’s fascination with utopian science fiction inspired organisms.

Flad uses modest materials such as sandpapered plywood, painted planks and a malleable mixture of paper and glue. In a complex process of transformation, elimination and adaptation, the artist constructs skeleton-like frameworks where fine and heavy, light and dark, fragile and robust forms combine to contradict perceived weight and mass. The artist doesn’t disguise the identity of his raw material but is intrigued by its capacity to take on characteristics of classical materials of sculpture such as bronze, iron and stone. In Flad’s work, references to Brâncuşi’s Endless Column, Giuseppe Penone’s work with wood and John McCracken’s minimalist reduction of immaculate high gloss surfaces are consciously combined and fused with influences from design, architecture and Bionics – the study of mechanical systems that function like living organisms. Within the current debate on Bionics, its significance for transposing various solutions used in technique and in nature to applications in architecture and design, such as various types of support media for example—the complex sculptures of Wolfgang Flad could also be viewed as a visual translation of (bio-chemical models combined with a re-interpretation of the 1950’s different experiments with sculptural form.

For
Flad, the notion of using recycled wood and shredded paper with recycled ideas, sketches, theories and plans for the scaffolding of his sculptures corresponds to his view that art as nature constantly renews itself.