Anna Fasshauer’s sculptures are inventions of dry construction profiles, aluminium sheets, bolts and car lacquer. The structures of raw material generate tension of form and create connective energy.
Fasshauer's floor sculptures and wall-works are created like classical musical compositions. In her Overture, the artist is choosing from pre-painted aluminium sheets. Colors and surfaces set the tone for the following composition. Repeating folds, bends and waves, structure the overall Sequence. In the Final Act, Fasshauer’s sculptures rest in movement and finalized form.
The artist finds titles for her works after they have been created. They are memorable, catchy, nonsensical and loud. They complete the composition through their expression, melodic like the scattered sound of a triangle. Work Titles like Foxy Rou Rou, Tango Mango and Gigi Cardinale have no immediate meaning themselves, but are primarily sound-colors.
The illusive weightlessness of Anna Fasshauer’s sculptures are expressed by the characteristics of their material, but also it appears as if every inclination, every fold, is organized around a center. A center which is left unsaid. The scale of Fasshauer’s own body and strength, lives on an invisible axis of her physical confrontation with the material and its extension.
The unsaid, liberates itself of any direct reference and actively allows for the possibility of direction and limitation. The limits are not such a place where something stops and ends, but wherefrom something begins and whereby it finds its completion.