Support and warmth
Hollow columns stand higgledy-piggledy side by side. These pillars seem to seek for each others support. Children can play hide and seek between their openings. If these columns were people, they would be honest about their uncertainty and need for support and warmth.
These piers are no struts of a monumental building. This time columns are no posture of our powerful institutions.
Let s be honest like Saeulenwand by Erich Hauser.
By Theo, www.artatsite.com
Steun en warmte
Holle zuilen staan schots en scheef zij aan zij. Deze kolommen lijken steun bij elkaar te zoeken. Tussen de openingen van de zuilen kunnen kinderen verstoppertje spelen. Als deze zuilen mensen zouden zijn, zijn ze eerlijk over hun onzekerheid en behoefte aan steun en warmte.
Deze pijlers zijn geen stutten van een monumentaal gebouw. Dit keer zijn zuilen geen machtsvertoon van onze machtige instituten.
Laten wij net zoals deze Saeulenwand van Erich Hauser eerlijk zijn.
Door Theo, www.artatsite.com.
www.welt-der-form.net:
Erich Hauser, Rietheim-Weilheim, 15 december 1930 - Rottweil, 28 maart 2004.
S ulenwand, 1970.
Edelstahl, 250 x 500 x 100 cm. Standort: 1970 bis 1987.
Rathenauplatz, seit 1991 Cramer-Klett-Park, Nürnberg.
Foto: TEW.
www.wikipedia.org:
Erich Hauser (15 December 1930, Rietheim - 28 March 2004, Rottweil) was a German sculptor.
From 1945 to 1948 Erich Hauser was apprenticed to a steel engraver. Moreover, he was taught drawing and modelling by Father Ansgar at the Beuron Archabbey. Afterwards he studied at the Freie Kunstschule in Stuttgart taking evening classes in sculpting. Since 1952 Hauser worked as a free artist and sculptor. His first influences were the sculptures of the Spanish artist Pablo Picasso and the Italian-French artist Berto Lardera.
In dealing with metal he was influenced by contemporary informel painters of the 1950s. At first his steel sculptures still showed noticeable marks of processing. Later he opted for smooth surfaces. Since 1962 he worked with industrially pre-fabricated steel plates. At the same time he dealt with basic geometrical structures and technical structural elements, which were characteristic of Hauser’s first autonomous works.
He transformed composed surfaces into hollow sculptures to be viewed from all sides, showing edgy burrs and caves. The sculptures cannot be walked-on. Hauser assembled the metal elements in such a way that they finally became regular hollow bodies. Thus he created spheres, cubes and tetrahedrons.
It is significant of these works that they seem likely to break or fall to pieces or be in risky balance.
Hauser’s participation in the documenta III (1964), documenta 4 (1968) and documenta 6 (1977) in Kassel brought about his artistic breakthrough. From 1964 to 1965 Hauser was a guest lecturer at the school of visual arts in Hamburg. Since then he frequently used pillars as subjects and discovered spatial height. Since 1967 he made his sculptures from polished metal discs shaped as pipes divided lengthwise.
Hollow columns stand higgledy-piggledy side by side. These pillars seem to seek for each others support. Children can play hide and seek between their openings. If these columns were people, they would be honest about their uncertainty and need for support and warmth.
These piers are no struts of a monumental building. This time columns are no posture of our powerful institutions.
Let s be honest like Saeulenwand by Erich Hauser.
By Theo, www.artatsite.com
Steun en warmte
Holle zuilen staan schots en scheef zij aan zij. Deze kolommen lijken steun bij elkaar te zoeken. Tussen de openingen van de zuilen kunnen kinderen verstoppertje spelen. Als deze zuilen mensen zouden zijn, zijn ze eerlijk over hun onzekerheid en behoefte aan steun en warmte.
Deze pijlers zijn geen stutten van een monumentaal gebouw. Dit keer zijn zuilen geen machtsvertoon van onze machtige instituten.
Laten wij net zoals deze Saeulenwand van Erich Hauser eerlijk zijn.
Door Theo, www.artatsite.com.
www.welt-der-form.net:
Erich Hauser, Rietheim-Weilheim, 15 december 1930 - Rottweil, 28 maart 2004.
S ulenwand, 1970.
Edelstahl, 250 x 500 x 100 cm. Standort: 1970 bis 1987.
Rathenauplatz, seit 1991 Cramer-Klett-Park, Nürnberg.
Foto: TEW.
www.wikipedia.org:
Erich Hauser (15 December 1930, Rietheim - 28 March 2004, Rottweil) was a German sculptor.
From 1945 to 1948 Erich Hauser was apprenticed to a steel engraver. Moreover, he was taught drawing and modelling by Father Ansgar at the Beuron Archabbey. Afterwards he studied at the Freie Kunstschule in Stuttgart taking evening classes in sculpting. Since 1952 Hauser worked as a free artist and sculptor. His first influences were the sculptures of the Spanish artist Pablo Picasso and the Italian-French artist Berto Lardera.
In dealing with metal he was influenced by contemporary informel painters of the 1950s. At first his steel sculptures still showed noticeable marks of processing. Later he opted for smooth surfaces. Since 1962 he worked with industrially pre-fabricated steel plates. At the same time he dealt with basic geometrical structures and technical structural elements, which were characteristic of Hauser’s first autonomous works.
He transformed composed surfaces into hollow sculptures to be viewed from all sides, showing edgy burrs and caves. The sculptures cannot be walked-on. Hauser assembled the metal elements in such a way that they finally became regular hollow bodies. Thus he created spheres, cubes and tetrahedrons.
It is significant of these works that they seem likely to break or fall to pieces or be in risky balance.
Hauser’s participation in the documenta III (1964), documenta 4 (1968) and documenta 6 (1977) in Kassel brought about his artistic breakthrough. From 1964 to 1965 Hauser was a guest lecturer at the school of visual arts in Hamburg. Since then he frequently used pillars as subjects and discovered spatial height. Since 1967 he made his sculptures from polished metal discs shaped as pipes divided lengthwise.