Greta Meert

Technique & Sentiment

10 Sep - 05 Nov 2011

© Etienne Fouchet
An exhibition curated by Didier Vermeiren
10 September - 5 November, 2011

Greta Meert Gallery presents an international selection of young sculptors in an exhibition curated by Didier Vermeiren (Brussels, 1951). Didier Vermeiren is an acknowledged Belgian artist who has represented his country at the Venice Biennial (1995) and who has shown his work in the Kunsthalle Zürich, the National Gallery Jeu de Paume (1995), the Van Abbemuseum (Eindhoven), the Bonnefantenmuseum (Maastricht), and the Centre for Fine Arts (Brussels).
In this group show Didier Vermeiren introduces five artist who optimally match and assess the title of "Technique and Sentiment". He selected them on the basis of his own experience as an artist and lecturer at the Düsseldorf Academy and the Ateliers in Amsterdam.

Johannes Döring (1972, Germany)
Johannes Döring's work developed in preoccupation with the contemporary use of the imagination of virtuality as a generated reality. On the one hand photography is a document in its traditional function of becoming aware of a moment gone. On the other hand it is the transformation of the representation, embodied in photography itself, due to its optics.
The ‘imagesculpture’ are modelled directly from each photo, for the photo itself. The form develops partly from the perspective which is given in the image, partly as an intuitive answer to it, by the artist. In consequence of taking photography as a basis, the sculptures develop certain mouldings, spatial voids originated from them, which define the in-between. A physical awareness, which is equivalent to the act, the moment of taking a picture as a physical action.

Etienne Fouchet (1981, Vitré, France)
This sculptor responds to the classical duality between nature and culture. The 'natural' painting and design processes that he introduces into his work can be read as a metaphor for contemporary sculptural practice that consists of assemblage, hybridization and alloy composition.
‘Stumbling Block I’ and ‘Stumbling Block II’ have been given a patina that displays various motifs of underwater fauna and flora, of waves and foam. The environmental factors have changed into pictorial elements, matter and texture. The tonality is that of the sea with all its nuances.

Valerie Krause (1976, Herdecke, Germany)
Valerie Krause’s method is synthetic, her design is quite free and open. The composition of her work covers a large area of tension: both in the material (static/dynamic, hard/soft, solid/volatile) and in the design (open/closed, geometrical/anthropomorphic, streamlined/jagged). Transitional moments are respected and often even emphasized. Her work, however, remains within a classical concept of beauty that aims at the correct spatial proportions, dimensions and balance.
Some works epitomize Krause’s free sculpture and choice of material. A classical geometrical figure is associated with the more experimental forms that are bent or pressed around it. A metal plate is subtly put around a massive concrete block. While others are rather spatial constructions whose strong linearity creates certain lines of fracture in the space. A distinct plasticity prevents the works from being taken up by the space around them.

Heiko Räpple (1981, Oberkirch, Germany)
Many of Heiko Räpple’s sculptures are bipartite and openly show the fittings that are particular to the design process together with the finished sculpture, with the former often assuming a prominent and surprisingly aesthetic presence.
‘Karyas’ is a half-open cylinder wrapped round a metal structure.
Dynamic and monumental qualities are beautifully balanced. Both the grooved form and the title refer to the ancient Greek order.

Johannes Wald (1980, Sindelfingen, Germany)
This German artist's work can be read in the conceptual tradition in which the work of art has lost its relevance as material realisation. The focus lies on the sculptural process, which is analysed and which may be shown in an original way. The objective appears to be an eternal, unfinished stage of intermediate forms and non-recyclable refuse that leaves open all possibilities.
‘Verlorerene Forme’ and ‘Bronzegusse’ respectively show the material and the castings of the proper sculpture, which is not visible itself. ‘Salute for an undone sculpture’ does not refer to one moment, but to the repeated fusing of bronze objects (war materiel) into new sculptures.

Tags: Heiko Räpple, Didier Vermeiren, Johannes Wald