Anna Fasshauer
01 Aug - 10 Sep 2014
© Anna Fasshauer
“New Works”, 2014
Installationsansicht
Galerie Nagel Draxler, Berlin
Photo: Simon Vogel
“New Works”, 2014
Installationsansicht
Galerie Nagel Draxler, Berlin
Photo: Simon Vogel
ANNA FASSHAUER
New Works
1 August — 10 September 2014
Drywall construction profiles formed and wound to large sculptures, either coloured or partly lacquered, flexed sheet metal pictures – this is how Anna Fasshauer presents herself in her first exhibition at Galerie Nagel Draxler Berlin.
Anna Fasshauer employs classical sculpture as if it were easy.
In a rather open process, she accurately transforms material into forms, putting them into space.
She neither designs nor draws, does not order the complete construction.
Fasshauer produces herself in an energy consuming act of bending, flexing and fumbling around with the large and heavy works.
She improvises, the works arise in the process of arising.
The pictures are results of this process-oriented working method as well.
Their format is classical, their topic is the surface, their expression is abstract.
Everthing on display here is what it is and it is hand-made. Neither the so-called speculative materialsm or realism nor the post-structural correaltion are the matrix.
In fact Fasshauer achieves a setting in the best tradition of abstract art of the 20th century, as if it were a continuum.
New Works
1 August — 10 September 2014
Drywall construction profiles formed and wound to large sculptures, either coloured or partly lacquered, flexed sheet metal pictures – this is how Anna Fasshauer presents herself in her first exhibition at Galerie Nagel Draxler Berlin.
Anna Fasshauer employs classical sculpture as if it were easy.
In a rather open process, she accurately transforms material into forms, putting them into space.
She neither designs nor draws, does not order the complete construction.
Fasshauer produces herself in an energy consuming act of bending, flexing and fumbling around with the large and heavy works.
She improvises, the works arise in the process of arising.
The pictures are results of this process-oriented working method as well.
Their format is classical, their topic is the surface, their expression is abstract.
Everthing on display here is what it is and it is hand-made. Neither the so-called speculative materialsm or realism nor the post-structural correaltion are the matrix.
In fact Fasshauer achieves a setting in the best tradition of abstract art of the 20th century, as if it were a continuum.