- About the exhibition
DIRK SALZ: REFLEXIONEN
- Artists of the exhibition
Dirk Salz works on paintings whose most striking feature is their high-gloss surfaces. These are the result of the use of multi-layered epoxy resins coated with pigments and the sealing with polyurethane varnish. The images of Dirk Salz always aim at the experience of the temporality of the seeing. They demand an active viewer, who takes the time to move back and forth, back and forth, before the initially closing works, in order to open up their complexity so slowly. Reflection in this work is thus in two forms in the game: optically as the mirroring property of the picture surfaces, as a reflection-aesthetic as the reflection of the viewer on his own visual experience.
„I always think in layers. The layers induce parallel and perpendicular images, which move in both space and time, and characterized by a repeating rhythm. In my sculptures and images, the visual image, movement, or geometry of light is always created between two such layers at a given distance from one other. I incorporate handcraft, as well as industrial and digital technologies in my work. I combine these to evoke the delicate contrasts that helps me expose a given problem. I am mostly interested in monochromatic plane-forms and, lately, in color transitions. I create upscaled lenticular lenses out of glass rods by cutting, polishing and glueing. These big lenses gave me the opportunity to get multiple phases of the same image just like an animation. The image is moving and changing with the viewers moves and not only to two directions. If you stand front of the image and steps closer and closer you will see more and more colors as the focus of the lens is changing. I used squares and rectangles to visualize the pixels of a screen with vivid colors. I also played with the 'resolution' of the pixels to get the composition. The colors next to each other generates optically mixed colors like in pointillism.”
György Gáspár's work can be associated with deconstructive architecture. Fragments of sculptural forms are recognizable, reminiscent of a mathematical system. In a certain way, the organic network of precise geometric lines and elements inside the glass seems to expand. Deep psychic experiences become possible. In a complicated process, the artist layers differently painted transparent glass panes on top of each other, thus creating his glass sculptures. The classical character of the glass, its brilliance and its imposing appearance play less of a role here. His focus on deconstruction is apparent in the strong contrast between the outer form and the inner system. Gáspár not only overcomes traditional sculptural principles by focusing on architectural disciplines, but also explores the border between image and sculpture.