[New-Poetry] eduard habicher

[Anny Ballardini]

just translated the following - a couple of passages are not too bad,
a link to see the original work:
http://www.galleriadisegno.it/artisti/habicher_E/index.html
the author of the text is Nicoletti.

Matter's sign articulation

 

The kind of search carried out by Eduard Habicher in his artwork pivots on the binomial: emotion and reason. His work is developed in the sign articulation of matter that - by dialoguing with the idea of expansion and lightness - modifies the environment.

He mutates it as presence, in fact matter is installed on walls, on architectonic structures ready to become the natural support of its manifesting. Sculpture by Habicher draws spaces, the limit of which seems to be zeroed in the extension of steel that pushes itself to the extreme: form is by now an almost calligraphic trace that runs borders. The definition of a border is anyhow interrupted with colored surfaces that, by landing on the wall, deepen its consistency. Subtle plates of red glass or precious gatherings of green glass recall precious stones transparencies. Gems are tied one to the other by the presence of thin sheets that partly surround or cross them by highlighting the subtle appearance of light. Luminous rays lay on materials and weave with them a tacit and endless relationship that, at the presence of light, gives consistency to shade as if to show a further drawing, another extension of the same artwork and, in its absence, it allows matter to absorb its strength.

 

Sculpture becomes a drawn form, trace of a thought, image of the body.

It is sometimes profile of nature, of a body, of a thought.

It is presence that widens itself in space by building a dynamic reason throbbing energy. It is the weight of metal leading your sight to embrace any single element and to page the surfaces of a moving space in which we are and projected towards the inside and pushed out to be once again attracted until our observation is content in having seized every little fold that corresponds to each minimum gesture.

Matter embraces other matter. Metal outlines glass, caresses combust wood. Glass spaces out the steel trace, makes it curious, stresses its course by tracing on the wall a trail, a course. His sign is always sinuous, soft, even when matter is harsh and its reflected shade hard and heavy.

 

Our contemporary sight seizes open and variable traces able to push themselves beyond the limit of mere appearance. Eduard Habicher's sculpture brings with itself a tension to the limit, as if it wanted to challenge common naturalness to become itself form and experience. We have seen thin sheets becoming outlines and profiles to give an identity to the sign, glasses transform themselves into sparkling energy points charged with light, and wood into element of memory and passion. We have observed every single part and we have recognized the infinite possibilities that matter gestuality indicates by surfacing on the walls and becoming a mobile part and lengthening of an architecture.

 

Sculpture concentrates the space of our observing. In the narrative genesis of titles and in the imaginative strength of the one who makes the artwork, depth of thought is revealed by making suggestions concrete, forms open expressing light in a constant rhythm of presences and absences, of revelations and transformations to reach the essence of the object. Steel's strength laces a constant dialogue with the fragility of glass and with the metamorphosis of wood to highlight that nature's space is in perpetual change. Sheets then caress time by lightly touching the walls they lengthen or entwine thus evoking the depths of our restless living and with them the surprise of a sight that tracks, also in matter's strength, nature's atmospheres.




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Anny Ballardini
http://annyballardini.blogspot.com/
http://www.fieralingue.it/modules.php?name=poetshome
http://www.moriapoetry.com/ebooks.html
I Tell You: One must still have chaos in one to give birth to a dancing star! 
Friedrich Nietzsche 
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