Exhibitions

In his first Solo exhibition at POLANSKY GALLERY the German artist Quirin Bäumler is presenting a selection of drawings and a site specific installation.

The sculptural installation aims to transform the neutral white cube into a metaphoric parallel world. An important element of Bäumlers intervention is an ascending element that arises from the wall but transforms during his development into a horizontal field, gaining more and more a clear and definite form in the process, up to a pointing that even can be understood symbolically. The horizontal division opens up the existing space into different layers, cutting, separating and splitting the room. While the upper partition becomes an empty, inaccessible and transcendent compartment, the lower area with its limitations in height can be experienced as a kind of cave, a condensed, narrowed, cell-like sphere. This sphere contains two further sculptural elements: A fish that is still half enclosed with material, that seems to be embedded in the process of his own emergence and formation. In the room he is installed in an elevated form and thus dismissed from the ordinary. He seems to float weightless in space, whereas on the ground a nearly life-size human figuration can be recognized. Also this male figure with his ´classical´, evenly proportioned traits is partially surrounded or enclosed with plaster-material, giving the impression of a blown open cocoon. The emanation of this figure is ambivalent. While the flat hands rest on the thighs in a relaxed, balanced posture or expression, the whole sculpture props up from the wall. With its diagonal attachment the figure seems dynamic and activated in a surprising or puzzling way. Birth, the mystery of life, solidification, death and rebirth are associations that inevitably appear.
Dynamic increases, raptures, processes of transformation as well as chances of development and additionally the topic of being thrown back and locked up are present as subject matters in many of Quirin Bäumler´s sculptures, that demonstrate the existential situation of the human being and questions his creatureliness.
The artist models his figurations not (as usual) as a positive, but as a negative form by carefully hollowing out blocks of material. The molding brings the positive form to light, leaving the negative form behind. In this respect the title „Lost Form“ refers to a sculptural process, where the starting point usually is destroyed and gets lost in the process of production.
The mentioned topics concerning Bäumlers sculptures are also present in his drawings that at first glance appear in a diverse and multiform way, and can be seen as a spontaneous and instant outflow. Considered as immediate, sometimes volatile or even seemingly incidental notations, they were realized by means that were at hand: pencil, ball or ink pen, executed on different sorts of paper, some of them of various age. Comparable diverse are the ways of execution that oscillate between an emphatic weave, a self-assuring outline and a fragile, even timid expression.
What Quirin Bäumler is drawing and depicts is not abstract, is not a document of any ostensible interest in formal structures, like geometrical, dense or minimalist statements, but is aiming at something substantial and intrinsic. The drawings manifest themselves as spontaneous and immediate images. Lines seem to pop up out of some un or pre-consciousness or a nonbeing, as a sudden projection that immediately builds out something anthropomorphic and creature-like. Out of succinct, interrupted strokes the spread wings of a bird emerge, in a kind of psychic automatism. Creatures – human beings and animals – appear on the image surface, manifest themselves, urge into existence. This urging, the ´drama´ of life and the state of development of beings, combined with questions or possibilities of growth, seems to be a, if not the fundamental subject in Quirin Bäumlers art, that is present in his drawings as well as in the sculptural work.
Thomas Groetz

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