Fiona Pardington, Kai Tahu, Kati Mamoe, Kati Waewae, New Zealand b.1961 | Uncanny Tui/Kakahu, from the collection 'Whanganui Museum' 2008 | Gelatin silver photograph, gold-toned on fibre-based archival paper, ed.1/ 5 | 61cm x 50.8cm, Collection: Queensland Art Gallery
Gereon Krebber's 'Captcha' is a dark and blue-green gleaming crater. A wormy mass flows out of its ring mould that opens on one side. The sculptures show a precarious moment of loss of control, tilting and overflow. (Viola Weigel)
Gereon Krebber’s recent sculptures reside in the realm between fascination and disgust, between creature and object, animation and concretion, slapstick and threat. The same with the work in the second room of the gallery: a multi-part floor work of cellulose and concrete. Egg-like, organic forms build a strange breeding place resembling the hatchery in the space shuttle of the movie Alien. “The objects seem to lurk beneath the surface: There is still something strange, creepy and indescribable in the omitted empty spaces that lets it pound.” (Viola Weigel)
In the first gallery room Krebber presents two works from the series Polycurls. These works, made of polyurethane (spray foam) and colored spray paint, are finally coated with epoxy casting resin: “With a gun I spray foam into thin, curling and winding threads that lay on top and next to each other. The view gets lost in a porous swarm that gives the impression of a freely winding and frizzing mass.” Krebber sprays his sculptures into shutter moulds that build solid blocks and bodies. Some parts he completes and shapes free hand by piling strands and threads of polyurethane foam which hang down straggly, agglomerate and break out of its forms. The monochrome chatoyant colored bodies appear alive and organic but stay abstract and unfamiliar. The works are coated with dropping layers of epoxy resin that enclose the sculpture like clammy slime. (Viola Weigel)
Cologne based sculptor Gereon Krebber is having his 3rd solo exhibition @ Galerie Christian Lethert
Somatös is a word formation that mixes the idea of the somatic (physiological) and comatose. This state of uncertainty is the basic idea of the exhibition: inscrutable material, form, surface and appearance.
Meteors, Bronze, 15 pcs, dimensions variable
"Fascinated by the form and expression, I saw the meteor more as an abstract sculpture than a scientific find. I liked the idea that what fascinated me was the form itself and its connotations and not its immediate references. This ambivalence of things and our experience of them is what constructs a core in my way of working. An example of this could be the notion of a meteor, which is a form I have used repetitively over the years. A meteor – like other astronomic phenomena – is fascinating as a phenomenon for most people, and summons up many associations on a psychological as well as a more literary level. Yet again, it is an ambivalent symbol as it represents wishes and aspirations on one hand, and on the other also can represent an omen – a forecast of imminent destruction." excerpt from Jone Kvie in conversation with Jesper N. Jørgensen. 2004.
Andy Holden, 'Cookham Erratics', 2011.
Holden engages with the context of the Benaki Museum's ancient Greek and Roman sculptures, through a personal archaeology, investigating the relationship between personal memory, monuments and the authoritative nature of narrative. The work consists of six knitted sculptures, mounted on plinths and placed among the Greek and Roman antiquities exhibited on the ground floor of the museum. These sculptures, constructed of steel, foam and mixed kitted yarns, are enlarged replicas of small stones and pebbles collected by the artist from the churchyard at Cookham, England, the setting for a celebrated painting by the British artist, Stanley Spencer.