Ronald Bladen
24 Oct - 22 Nov 2008
"Drawings from the 60s and the 70s"
Opening: October 24, 2008, 6-9 pm
KONRAD FISCHER GALERIE DÜSSELDORF is pleased to announce the exhibition Ronald Bladen „Drawings from the 60s and the 70s“.
The drawings of Canadian born Ronald Bladen (1918 -1988) – one of the „fathers of Mimimalism“ – introduce an interesting position from the 60s and the 70s. Bladen started in the mid-60s with his geometric sculptures. In an 1968 interview Bladen argued: “I am more interested in the totality of the form in sculpture than I am in the by-product of its details ... I wish sculpture to be a natural phenomenon that I can go to in order to feel, be moved, exalted – and that retains a visual dignity and presence that says it can never be anything else.”
Although being executed in a large scale, Bladen’s plane black surface sculptures appear to be light and in motion, but archaic and pure at the same time. This exceptional lightness one finds as well in his large-size drawings of sparse positioned pencil lines that divide the paper into solitary segments. Considered at large, these lines merge into complex geometric forms.
Opening: October 24, 2008, 6-9 pm
KONRAD FISCHER GALERIE DÜSSELDORF is pleased to announce the exhibition Ronald Bladen „Drawings from the 60s and the 70s“.
The drawings of Canadian born Ronald Bladen (1918 -1988) – one of the „fathers of Mimimalism“ – introduce an interesting position from the 60s and the 70s. Bladen started in the mid-60s with his geometric sculptures. In an 1968 interview Bladen argued: “I am more interested in the totality of the form in sculpture than I am in the by-product of its details ... I wish sculpture to be a natural phenomenon that I can go to in order to feel, be moved, exalted – and that retains a visual dignity and presence that says it can never be anything else.”
Although being executed in a large scale, Bladen’s plane black surface sculptures appear to be light and in motion, but archaic and pure at the same time. This exceptional lightness one finds as well in his large-size drawings of sparse positioned pencil lines that divide the paper into solitary segments. Considered at large, these lines merge into complex geometric forms.