Michael Sailstorfer
17 Jan - 07 Mar 2009
MICHAEL SAILSTORFER
"No light"
Processes of deconstruction and reconstruction, of transformation and displacement are central to the sculptural works of this young German artist. With him, a plane becomes a house, a house turns into a sofa, a police van becomes a drum kit. Both playful and narrative, absurd and poetical, sculpture according to Michael Sailstofer is an art of metamorphosis. In his recent works – "Endless Column" (2006) or "Time is no Highway – Berlin (2006)", "Musical S" (2008) –, the artist uses untangible materials such as sound, energy, smell or light: the rubbing of a tire against a wall, the vibrations of a cube of concrete in which a microphone has been placed, are a way of bringing subtle oppositions into play – visible/invisible, material/immaterial, space/time – to unveil the invisible and the transient, powerfully interacting with the viewer. Above all, these works display an attempt at venturing towards the physical and spatial possibilies of sculpture and architecture to explore their phenomenological, dynamic and synesthesic
« I’m really interested in what sculpture can be and how a sculpture can spread out and use much more space than it physically has. »
"No light"
Processes of deconstruction and reconstruction, of transformation and displacement are central to the sculptural works of this young German artist. With him, a plane becomes a house, a house turns into a sofa, a police van becomes a drum kit. Both playful and narrative, absurd and poetical, sculpture according to Michael Sailstofer is an art of metamorphosis. In his recent works – "Endless Column" (2006) or "Time is no Highway – Berlin (2006)", "Musical S" (2008) –, the artist uses untangible materials such as sound, energy, smell or light: the rubbing of a tire against a wall, the vibrations of a cube of concrete in which a microphone has been placed, are a way of bringing subtle oppositions into play – visible/invisible, material/immaterial, space/time – to unveil the invisible and the transient, powerfully interacting with the viewer. Above all, these works display an attempt at venturing towards the physical and spatial possibilies of sculpture and architecture to explore their phenomenological, dynamic and synesthesic
« I’m really interested in what sculpture can be and how a sculpture can spread out and use much more space than it physically has. »