Maze 77
Maze 77
Maze 77
Maze 77

As a starting point, the artist uses images of different mazes that he finds in books or on the internet; using this technique of screen printing and painting on different media such as: linen, silk and metal - proposes other labryinths in a random way. "When I started to do the “Mazes” I looked for templates and found thousands in the web. There are online maze-generators, web-sites for children and pastime. It was the easiest way to get the material and as an infinite resource. But I also like the idea of transforming random and infinite possibilities by right and wrong decisions into a unique piece of art" In the latest “Mazes” there is a direct reference to Andy Warhol’s oxidation paintings. For the canvases I use a primer with copper or other metallic pigments before the maze structure is screen printed onto them. By spraying acid on the canvas or pissing on the surface I try to find the way through the maze, what makes the primed surface oxidate..."

L'artiste prend comme point de départ des images de labyrinthe qu'il trouve dans des livres ou sur internet puis, en utilisant la technique de la sérigraphie et de la peinture sur différents supports (lin, soie, métal..), propose d'autres parcours de labyrinthe, de manière aléatoire.

About Michael Sailstorfer

Michael Sailstorfer’s site-specific interventions emphasize transformation and challenge conventional rubrics of sculpture. He gives objects new meanings and functions by reconfiguring, though not deconstructing, them. Much of Sailstorfer’s work involves breaking down an object to reveal its physical components, as in the case of Zeit ist keine Autobahn (Time is not a motorway) (2005). The work features a spinning, motor-powered tire pressed against a wall; as the tire wears down, rubber particles collect on the floor and the scent of burning rubber fills the installation space. Sailstorfer cites the site-specific, performative work of Gordon Matta-Clark as a key influence, and says he is “interested in what sculpture can be and how a sculpture can spread out and use much more space than it physically has.”

German, b. 1979, Velden, Germany, based in Berlin, Germany

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2015