Philip Wiegard : Falten
Philip Wiegard : Falten
- [χ.χ.]
In Philip Wiegard artistic practice, there are no static elements nor values. Rather, the process of visualization of the artwork hovers between the act of vision and that of memory, between comprehension and knowledge, forever in balance between the idea of an object and that of a thing, halfway between the notion of grammar and that of criterion. Pushing, crushing, contorting, folding, pressing, mutilating, reassembling, these are the gestures that sustain the work of the German artist, a practice which is at the same time subtle and brutal. With great dexterity and ability, he destabilises the relation between form and function and subsequently places it literally in perspective by mixing the scales of the real. The reliefs and installations by Wiegard are often realised with mundane and ordinary materials of commonplace memory. The very titles Bicycle Basket, Yellow Chair, Spaghetti Junction, and Spaghetti with Cheesetrace with irreverent precision the contours of an absurdly familiar landscape and by doing this, they narrate fragments of ordinary lives.ThereΆs something absurdly real in the images of Philip Wiegard. The artist gathers his materials from construction sites or he simply finds them in buildings undergoing renovation, while, most recently, he started collecting them from flea markets. He then alters these objects dramatically giving them a new life.
Wiegard, Philip, 1977 - --Exhibition
In Philip Wiegard artistic practice, there are no static elements nor values. Rather, the process of visualization of the artwork hovers between the act of vision and that of memory, between comprehension and knowledge, forever in balance between the idea of an object and that of a thing, halfway between the notion of grammar and that of criterion. Pushing, crushing, contorting, folding, pressing, mutilating, reassembling, these are the gestures that sustain the work of the German artist, a practice which is at the same time subtle and brutal. With great dexterity and ability, he destabilises the relation between form and function and subsequently places it literally in perspective by mixing the scales of the real. The reliefs and installations by Wiegard are often realised with mundane and ordinary materials of commonplace memory. The very titles Bicycle Basket, Yellow Chair, Spaghetti Junction, and Spaghetti with Cheesetrace with irreverent precision the contours of an absurdly familiar landscape and by doing this, they narrate fragments of ordinary lives.ThereΆs something absurdly real in the images of Philip Wiegard. The artist gathers his materials from construction sites or he simply finds them in buildings undergoing renovation, while, most recently, he started collecting them from flea markets. He then alters these objects dramatically giving them a new life.
Wiegard, Philip, 1977 - --Exhibition