"Ein-blicke|-schnitte|-risse"

The artist – Marie-France Goerens – works at the intersection of sculpture, installation and drawing.
Her artistic practice centres on the process: forms do not arise from a pre-determined idea, but develop from direct actions within the material. This results in working processes that, as a variation on ‘form follows function’, can be described as ‘form follows action’. Thus, an initial small model (usually made of paper) serves as the starting point and guideline for the object that develops from it. A central element in her works is the fragment – not a shard, but rather a basic element of an open structure.
 
In this exhibition, we focus primarily on works from the two series:

 

The artist Herbert Golser is a contemporary exponent of a sculptural tradition that views sculpture as the development of new forms of artistic and personal expression, and as the process of working with materials.
Golser’s sculptures and plastic works are – in the best sense of the word – fascinating. They captivate through a congenial convergence of conceptual form and sculptural technique, which often seems to elicit new properties from the material with surprising effects, and invites the viewer to discover the artist’s experiences and the processes of his work.
[Dr Martin Hochleitner, catalogue “formwandeln”]
 
Thanks to his extensive knowledge of wood, he is able to carry out the actual artistic process of transforming the material into its sculptural form using technical methods as a decisive foundation for his creative work.

The artist Elke Halbmayer sees herself as an explorer of life in its universal nature, always keeping an eye on the tension between the past and the future. She thus operates at the intersection of art, natural science and craftsmanship, although her interest in symbolic language and graphic structures takes precedence over the aforementioned.
Her understanding of the mutability of the path through time is an intrinsic part of her working method. This is expressed in an intense form in the creation of her clay objects, which are conceived as an ongoing, open process. It serves as a yardstick for the transformation of memory in the present moment.
Conversely, in the drawing series ‘Tenderlines’, the preconceived course of the colours—which ultimately does not necessarily follow the intended flow of colour in her works on paper—becomes perceptible to the viewer through her exemplary works of the past ten years.
 
In the present exhibition, we focus primarily on works from the two series: