Rolf Hans, Stele IX 1990, Sculpture from the Cycle Poesie der Dinge

Rolf HansFrankfurt a. Main 1938 - 1996 BaselStele IX, 1990WoodSigned on the bottom, dated and titledWith base size: 111 x 11,5 x 11,5 cmincl. a catalog about the artistPoetry of ThingsIn the early 1970s, Rolf Hans starts for the first time with the design of objects. They are small sculptures, which he assembles iron pipes with round or square profile. With them he studied in parallel with its simultaneously arising paintings to create a new, three-dimensional experience reality.1987 Hans takes the medium of sculpture again. In this he work process now does not hold more than a conscious construct, but a passing to-be from the given. And like his painting production, now created his objects from an inner necessity, not to fill an intellectual vacuum. ''This forced me for decades under control and for a few years I try 'to pacify him with the cycle poetry of things.'' The intellectual climate was prepared ''.So Hans concentrated in his last decade of life to work on the sculpture cycle. And in a frenzy, he draws from the newly given opportunities offered him the shapes of objects: ''The poetry of things grows, it absorbs all the time, much is neglected, barely letters, the diary is silent largely, concerts are limited to essentials , The result is a forced and yet has started as a game, but attempts were always a serious matter demanding the all guy. [...] The objects have crept into my ratio, gently and unnoticed, take their place, have taken him, are part of myself. '' ''It's a difficult thing with the art, in view of the previous attempts to find the way to the Zeitgeist and its aesthetic influence the direction you know whether the discontent to move. Now, in the middle of the poetry of things' a sense of freedom, yet many respects closely related to what was there before, there's also allows no program, only one title of any work of freedom. ''However, despite the role models in mind succeeds Hans from the start with its object cycle completely unique formulation options to find. What connects it to Max Ernst, Brancusi, Duchamp, is only the starting material: lost property.There are quite mundane things of everyday life - formerly Required Useful and Practical such as tools, utensils, equipment - that are removed from their function and now serve the artist as a door to the imagination.Hans stripped such things their previous, traditional function or their archaic provision and transports them to another new reality in order to animate again. He wants without aestheticise not deny the found shape. Your innate 'structure, signs of wear and color-changing only slightly, he studied their meaning and purpose to highlight the shape and define their inherent charisma new.Things are processed, have to reveal their identity in the fight with the artist and to make new statements in conjunction with other objects.Hans reified presented without any artificiality the abstract symmetries of wood and metal objects and places them all the artistic tradition of obeying on a pedestal. In addition, it integrates it into the work. Because as unterster part of the base is preparing not only to the sculpture in front, but loosens, dissolves or consolidates its earthiness. This erecting he gives the sculptures another life of its own, so to speak, a second existence, and gives them a new name, a new identity. ''They show their personality, one more, another less, as it is in life and in art.'' What they all have in common is their work from the past into the here and now. They reveal their original beauty and the mystical, the stuff of dreams.Which ambivalent way we also meet the sculptures and objects by Rolf Hans, they never do it out loud or exalted. In its balanced and simple appearance, they come quietly, but dominant in touch with us. Strange they ask us again and again, to ask questions: Who am I? Where do I come from? Where am I going? They provide us with any information which could help us in answering. But they give us an even greater scope for associations and imaginations. They appeal to our subconscious. They invite us to linger and meditation: It is the all vertraute start and unconscious breaking into the secrets of creation.