Statement Invisible Sculpture

The classic topoi of art, such as space/time, presence/absence etc. need to be reformulated, not least in the age of increasing virtualisation of social reality.

Thus, the conceptual creation context of the series Invisible Sculpture is based on thought models that as a matter of principle distance themselves from every form of dualism, i.e. radically depart from traditional oppositions such as subject and object, statement and subject matter, scheme and content – and consciously shift from objects to processes.

Invisible Sculpture is based on a reversal of the sculptural working technique of the lost mould. Understood as a process result, each Invisible Sculpture comprises various types of materiality or medium/form variations. In order to secure the trace evidence, something totally arbitrary is placed on a working underlay and treated with colour. This initial manoeuvre is followed by the partial marking of the arbitrary item via moulding. The result from the separation of the two, i.e. the physical marking on the one hand and the subtraction of the arbitrary item on the other, is haptic sensual data which activates the reversal. The “temporary markings” (Rosalind E. Krauss) are captured via long-exposure photographs or video.

The Second Order Cybernetics, or the cybernetics of cybernetics proposes that everything that organises feedback should be understood as a medium. Consequently, an Invisible Sculpture should be understood not as an arrangement of objects but as a performative medium that is not only generated by discourses but is also a contribution to discourse.

An Invisible Sculpture only achieves realisation through its respective observation (to distinguish sth. from sth.>to indicate) as an installative and intermedial compound.