Galerie Reinhard Hauff is pleased to announce the opening of its first exhibition with Berlin based artists Anja Schwörer (*1971) and Wolfgang Flad (*1974). The exhibition includes paintings by Schwörer and new sculptures by Flad who have been brought together for the first time in this show. Both artists—who studied in Karlsruhe and in Stuttgart respectively—have developed their own, highly individual abstract form language: Both explore the spiritual component of science and abstract art. Anja Schwörer and Wolfgang Flad use traditional materials: paint, canvas and wood—but in unconventional and intriguing manners. In their work, Schwörer and Flad—each in their own distinctive ways—seek out points where the frontiers between the known and the unknown, the scientific and the spiritual component of abstract art as rooted in philosophies of mathematics and geometry, converge. While pursuing venues where chance is encouraged to run its course within a clear and rational, creative process, the canvasses by Schwörer and the sculptures by Flad revisit the tradition of post-painterly-abstraction and sculpture of the 50‘s.
Anja Schwörer‘s compositions, which throughout 2007 could be seen in exhibitions in New York, Copenhagen and on the Frieze Art Fair in London, are created on surfaces as diverse as canvas, black velvet and denim, in a technique which is particular to her work. Through the material process of deletion and altering surfaces, she composes psychedelic canvases with abstract patterns that are then painterly enhanced by the artist with prismatic, radiating beams recalling rays of cosmic energy. The auratic aesthetic of these negative paintings in strong light and dark contrasts invoke the sinister images of the Heavy Metal world—but reflect the artist‘s personal interest in cosmic vibrations—and energy as the refraction of light in construction and deconstruction of form and space.
The combination with Wolfgang Flad‘s sculptures of raw wood and papier-mâchè on perfectly high-glossed, polygonal pedestals, make for an interesting, visual duality between images that are prismatically radiating, and the undulating, amorphous—seemingly illogical lines of living organisms invading space—which we perceive in Flad‘s works. The dynamic, flowing outlines of his wooden skeleton constructions contrast with the hard, crystalline geometric form of the pedestals they are placed on. A precious patina of multiple coloured layers seem worn off from the raw bones of his imaginary organisms imposing a life of their own. This highly personal and totally contemporary interpretation of the classical medium of sculpture accounts for an acute interest in Flad‘s work these days which is already represented in major private and public collections such as that of the Kunsthaus Zürich.