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How do we look at Erich Reusch’s works, and what view do they generate? No possibility of coming to rest and biding a while, and your gaze will be neither gripped nor riveted. You drift, glide on, haste on, hesitate a moment – there is something incongruous, jarring, so it seems at first. You adjust; you see it again, in another light. Your gaze will bridge larger gaps and you sense a tension, go hither and thither, a colour radiates and you enter in, are steeped and find smaller routes, similarities, and a scattering. You note there is something hard-and-fast; but noted, it releases your gaze, free to range. Something steady expands, only to be unsettled, so that your attention readjusts again. A shape forms but retains a lightness, an openness. You locate a horizon. It evanesces.

In a Reusch, the sculptural element is open space. The faculty of sight hits upon the colours and shapes from outside; conversely, they will take your senses by surprise as they enter your field of vision. At no point do you stop and stand. For Reusch, this act of shaping over distances, this seeing further is the product of a spatial-architectonic mind set. A work is a site, an accentuation, access and an extending. It was as an architect that Reusch was primarily active between 1953 and 1964. Modern sculpture as then was, opened up to ambient space but retained a centre, witness Hans Uhlmann, Norbert Kricke or David Smith. In Reusch, it was space that encountered the sculpture and was concentrated, charged with tension and channelled further. As early as the 1950s and 1960s, he was inventing flat sculptures, devoid of volume, utterly open, that collected directions and again, brought directions forth. To be accurate, Reusch’s œuvre had begun earlier still, in the 1930s, as a pure sense for space, manifested in photographs, in moments of light. This glissando gaze is generated still by his later photographic pieces.

Now, however, since about 2007, Reusch’s works have been jettisoning all that might be tangible, material or that might have weight. You experience them as movement alone, an impelling of your gaze. Not that all hard edges and angles have gone; right-angles, rigid form and precision remain important; but only as a means of forcing out from their midst these fast slow radiant movements, this quality of openness and inexorability, and to hold it all tensed.

Erich Franz


Erich Franz

Text aus "Dezentral"

(german version)


neue reliefs (auswahl)

2010 - 2013


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