Anna Fasshauer
28 Feb - 04 Apr 2015
© Anna Fasshauer
“sollte, sollte, könnte, müsste”, 2015
Installation view
Galerie Nagel Draxler, Köln
Photo: Simon Vogel
“sollte, sollte, könnte, müsste”, 2015
Installation view
Galerie Nagel Draxler, Köln
Photo: Simon Vogel
ANNA FASSHAUER
sollte, sollte, könnte, müsste
28 February - 4 April 2015
Similar to an essay approaching a matter from various sides in the course of its sections without fully capturing it – because a fully captured matter loses all of a sudden its complexity and is melting down to one phrase – he believed to see the world and his own life rightfully and treat it accordingly.
Ulrich in Robert Musil’s ‘Man Without Qualities’
Ulrich, the man without qualities, from the novel bearing the same tiitle does not want to be determined by external circumstances. This is why he decides to „take a vacation from life“. When he was young, he had the dream of living a „hypothetical“ life. Now he replaces the term hypothesis with the term essay. „...Not a thing, no I, no form, not even a principle is safe, everything is in an invisible, but never resting transformation, the unsolid includes more from the future than the solid, and the present is nothing but a hypothesis, over which one has not yet gone.“
Fasshauer wants her works to be understood as “essayistic sculptures“. This may sound like a contradiction, when you face the large visual emphasis of her metal structures. Her wall works and floor sculptures crafted from stainless steel sheets or dry construction profiles, seem like predicted precisely imaginary abstract forms; their implementation requires a great deal of power and control. On the contrary Fasshauer works on a fine line between intuition and process, following a „stream of consciousness“, which can change its shape at any time.
According to this the direction-changes of the profile sculptures are improvisations. They “arise in the making“, while Fasshauer builts her work, “with bare hands” and without assistance. Regarding the floor sculptures, metal sheets lay like a shell avoiding air, establishing and solidifying. The tension between easy and hard, firm and provisional, form and expression is huge. Nevertheless her works stay in tradition with the abstraction in modern art.
The crucial point of Fasshauers’ work is that shape is not quite defined to the end. She includes the possibility of unrealized forms. Among all art forms, the sculpture is the most material one. The “essayistic sculptures“ of Anna Fasshauer follow forms without setting them in the first place.
sollte, sollte, könnte, müsste
28 February - 4 April 2015
Similar to an essay approaching a matter from various sides in the course of its sections without fully capturing it – because a fully captured matter loses all of a sudden its complexity and is melting down to one phrase – he believed to see the world and his own life rightfully and treat it accordingly.
Ulrich in Robert Musil’s ‘Man Without Qualities’
Ulrich, the man without qualities, from the novel bearing the same tiitle does not want to be determined by external circumstances. This is why he decides to „take a vacation from life“. When he was young, he had the dream of living a „hypothetical“ life. Now he replaces the term hypothesis with the term essay. „...Not a thing, no I, no form, not even a principle is safe, everything is in an invisible, but never resting transformation, the unsolid includes more from the future than the solid, and the present is nothing but a hypothesis, over which one has not yet gone.“
Fasshauer wants her works to be understood as “essayistic sculptures“. This may sound like a contradiction, when you face the large visual emphasis of her metal structures. Her wall works and floor sculptures crafted from stainless steel sheets or dry construction profiles, seem like predicted precisely imaginary abstract forms; their implementation requires a great deal of power and control. On the contrary Fasshauer works on a fine line between intuition and process, following a „stream of consciousness“, which can change its shape at any time.
According to this the direction-changes of the profile sculptures are improvisations. They “arise in the making“, while Fasshauer builts her work, “with bare hands” and without assistance. Regarding the floor sculptures, metal sheets lay like a shell avoiding air, establishing and solidifying. The tension between easy and hard, firm and provisional, form and expression is huge. Nevertheless her works stay in tradition with the abstraction in modern art.
The crucial point of Fasshauers’ work is that shape is not quite defined to the end. She includes the possibility of unrealized forms. Among all art forms, the sculpture is the most material one. The “essayistic sculptures“ of Anna Fasshauer follow forms without setting them in the first place.