By Luk Lambrecht : The primary language that appears on rough supports sculptures Bernd Lohaus is a visual data to detect the relationship between language and sculpture. The addition of words is a piece of wood or a block of stone is born of associations and affinities with the first "signs" historical writing and communication. Humans communicate through language, he led the decoding and interpretation towards a given objective, which may, as appropriate, vague or specific. Lohaus believes its stones and wooden beams, it selects with love, are the vectors of a discourse that characterized his life and showing so say the need to "shout to the world" in a concentrated manner, exemplary and significant.
The German language (which is the mother tongue of Lohaus) In addition, for those who are not German, expressive resonance, compact and accurate in content. The recent work of Lohaus happening more and more of the presence of the language. The sculptures transparent "keep quiet" methodical in their structure, they plan to return "words" they burn on the retina of the viewer.
seems Bern Lohaus wants outlaw readable language and son drivers to make interpretations and he wants to communicate to the viewer through a priori mental activity alone. The monumental sculptures horizontal Antwerp, Thames (Temse), Kassel and Eupen are virtually devoid of text and draw their strength from how the artist arranges and directs the beams on top of each other and to each other side. The sculptures become imaginary pedestals, stands for thoughts and ideas.
The weight of such exotic beams, ravaged by weather and forgotten merchants interesting physical causes tension between the material chosen and the artist. The "manipulation" in the literal sense by human elements of a sculpture, is no longer possible: the making of the work of art is in its very construction which involved a social dialogue, doubt and mechanical skill. Unlike the game of Mikado, Bernd Lohaus sculptures are the result of an artistic manner, deliberate. The fact layer and arrange next to each other beams of such weight to make a sculpture open, accessible, where you can even get physically combines intuitive considerations related to the objective, rational limits to relating to the location of the sculpture. The sculpture becomes more and more a place. Those who have had the opportunity to visit the town of Thames (Temse), where Lohaus has placed one of his most impressive sculptures in an empty spot and left, between the Scheldt and the church, have seen that he genuinely intuitive place and it fills to perfection. The symbiosis between the complementary associations - the Scheldt, the gateway to the world, exotic wood beams of the sculpture and the positioning of the work in injury "open" the urban fabric of Thames - causes an accumulation exciting to content implicitly stratified by means of a sculpture in itself completely abstract.
Sculptures Bernd Lohaus are ordered structures or rather precise contours, which do not correspond to strict geometrical definition. With its recent "land measurements without words," Lohaus seized the massive void in the boundaries that suggest both architecture that Al rich history of sculpture. A comparison of
Bernd Lohaus with the work of American sculptor Carl Andre required. Unlike the latter, which generally turns the materials he chooses to make items similar in form to arrange then in a space with a vision very mathematical, Lohaus retains the different elements of the natural appearance of his sculptures in which he found them and the agency does not as dogmatic rules!
As in the work of Carl Andre, the artistic production of Lohaus exists only in the specific context of the exhibition. The work which, once the exhibition is over, is stored in a shed or a workshop permanently retains the right to propose, in another context, a new vision on the perception that the audience has had.
I compare the sculptures of elements separated single words in the context of a sentence taking effect. Lohaus is a sculpture of a phrase "mass" whose material appearance creates a field of meanings which also precludes any decoding strictly tautological material.
sculptures Lohaus, because of their loose construction, are never "finished": they live a vagabond existence, as the material from which they arise, and remain on a metaphorical level, comparable to "mobility "in artistic and creative thought.
The exposed horizontal wooden sculptures in a park to provide an answer and say "cultural" to the development of artificial nature, the park, quiet and protected full of trees to verticality majestic symbols of the organic sculptures Lohaus. The dialectic between culture and nature talking up the visitors at an enclave: Bernd Lohaus up so to speak "patios" organic that invite visitors to develop a mental vision on art, culture and nature.
The suggestion of a movement stratified wave in her sculptures is a defining characteristic, as if the retail frozen (immobility) as an image in-convulsing wanted to draw our gaze on the course of the timeless things.
Sculptures Bernd Lohaus are ordered structures or rather precise contours, which do not correspond to strict geometrical definition. With its recent "land measurements without words," Lohaus seized the massive void in the boundaries that suggest both architecture that Al rich history of sculpture. A comparison of
Bernd Lohaus with the work of American sculptor Carl Andre required. Unlike the latter, which generally turns the materials he chooses to make items similar in form to arrange then in a space with a vision very mathematical, Lohaus retains the different elements of the natural appearance of his sculptures in which he found them and the agency does not as dogmatic rules!
As in the work of Carl Andre, the artistic production of Lohaus exists only in the specific context of the exhibition. The work which, once the exhibition is over, is stored in a shed or a workshop permanently retains the right to propose, in another context, a new vision on the perception that the audience has had.
I compare the sculptures of elements separated single words in the context of a sentence taking effect. Lohaus is a sculpture of a phrase "mass" whose material appearance creates a field of meanings which also precludes any decoding strictly tautological material.
sculptures Lohaus, because of their loose construction, are never "finished": they live a vagabond existence, as the material from which they arise, and remain on a metaphorical level, comparable to "mobility "in artistic and creative thought.
The exposed horizontal wooden sculptures in a park to provide an answer and say "cultural" to the development of artificial nature, the park, quiet and protected full of trees to verticality majestic symbols of the organic sculptures Lohaus. The dialectic between culture and nature talking up the visitors at an enclave: Bernd Lohaus up so to speak "patios" organic that invite visitors to develop a mental vision on art, culture and nature.
The suggestion of a movement stratified wave in her sculptures is a defining characteristic, as if the retail frozen (immobility) as an image in-convulsing wanted to draw our gaze on the course of the timeless things.
learn more about Bernd Lohaus : click on the links below
Galerie Bernard Bouche
SMAK Museum
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