We are very pleased to announce the first solo exhibition of the Austrian artist Constantin Luser in our Vienna gallery. Under the title “Einfallswinkel gleich Ausfallswinkel” (“Incidence Angle Equals Emergence Angle”), delicate image worlds applied onto mirrors encounter complex ligree wire sculptures, reflecting them in steady fluctuation. In the interaction with the viewer, a cosmos ends up unfolding, in which space and time are redefined.
Upon entering the exhibition space, the viewer enters into a world where, disconnected from the constant rhythm and noise of everyday life, a particular temporality prevails. Wispy wire structures appear to oat weightlessly in the air. Like fantastic planetary systems, they rotate around their own axis in slow motion. They cannot stand still, yet their movement is so subtle that it is hardly perceptible. In the interlaced wire meshwork, abstract and gurative elements combine into complex line textures. Organic forms meet geometric structures, diagrams, and numbers. Within the compositions, this opens margins for association, which oscillate between reality and imagination.
Faces repeatedly look up to us from the depths of these structures, plants and animals stolidly move through the air. Circling comets make their rounds, and contour lines appear to emulate mountains and valleys. Filigree architectures arise before our eyes, only to disappear again in the next moment, or to change their shape. Abstract lines and contours transform into concrete gures and vice versa. Foldings, compressions, and torsions continue endlessly. The incessant movement of viewer and sculpture creates a never-ending narration, which can reveal all kinds of stories. Cubes formed from wire appear to bear some of the sculptural shapes, like plinths, and at the same time seem to freely oat in space. Deprived of their stability and compactness, in a way, they lose their proper function. Their immateriality makes it impossible to clearly distinguish between base and gure.
In Constantin Luser’s new works, mirrors become image carriers, on which exceptional worlds unfold. Thinned down color essences deliquesce on the slick surface in a matter of seconds and set in no time. Like smoke clouds, they appear to lose themselves in their background, or to dissolve like ink in water. By afixing a UV glass, the artist also creates a second painting layer, which partly superimposes the rst one, partly continues or complements it. Thus, various layering effects are created. Markings become prominent or seem to seep away into deep levels.
Luser contrasts these color clouds with drawn marks. Line by line, a mesh emerges, which appears to structure the mirror bit by bit.
For the artist, this consequent drawing forms the basis of all of his works. Thoughts, ideas, and impressions manifest in an immediate manner. They serve as structural starting points, whether for expansive sculpture or classic drawing. The clear forms and straight lines form a stark contrast with the soft, billowing aesthetic of the colors. Flowing and setting, lightness and weight confront one another in a partly harmonious and partly con ictual contrast. Abstract and seemingly concrete forms go hand in hand. Memories of familiar things continue to rise to the surface, only to get lost again.
While the sculptural wire structures can appear like planar lines on the wall, a complex 3-D e ect emerges within the two-dimensional compositions. Through the mirror, the marks afixed to it are duplicated. Each contour is joined by a second, which, depending on the viewing angle, molds itself to its archetype. This creates an irritating optic effect. By trying to focus on the individual objects, blurs and spatial irritations continue to develop. The parallel lines incessantly challenge the eye. Only when the viewer stands directly in front of the work do line and re ection align perfectly. But then, the perception is a ected by another source of irritation: the viewer herself, who suddenly sees herself appear in the mirror. Luser’s works negate the identity-a rming function of the mirror, which instead becomes a projection screen for the other works.
This, the in nite circles of the delicate wire structures inscribe themselves into the ambivalent narration of the compositions. The sculptural works, floating in the space line three-dimensional drawings, thereby enter into a productive dialogue with the mirroring surfaces, on which lines, color areas, and the movement of the sculptures engages in a complex game.
Through the movement of the viewer in space and the turning of the gures, ever new perspectives develop and, with them, ever new reciprocal e ects and narrations. As marveling viewers, we become part of a constantly changing world, which casts a spell on us with its peculiar atmosphere.
Constantin Luser was born in 1976 in Graz, Austria. He studied in Vienna at the Academy of Fine Arts with Renée Green, and at the University of Applied Arts with Brigitte Kowanz. Comprehensive solo exhibitions were shown, among others, at the Kunsthaus Graz, the Belvedere in Vienna, and the Kunsthalle Krems. He has also taken part in numerous international group shows, including at the Hamburger Kunstverein, the Albertina in Vienna, and the Palais de Tokyo, Paris.