Sebastian Gogel (Leipzig) and Miron Schmuckle (Berlin) create a highly fascinating interplay by immediately referencing each other's work and through elaborate finesse and aggressive explorations of artistic means. Gogel's monumental mixed-media-sculpture meets Schmückle's artificial floral-insectoid constructions as Indian ink drawings on paper.
Gogel's formal vocabulary lives on an opulent repletion which allows for all kind of conceivable extremes. His sculpture 'Kassierer' appears as a beguiling metaphor for a world full of... Read more
Sebastian Gogel (Leipzig) and Miron Schmuckle (Berlin) create a highly fascinating interplay by immediately referencing each other’s work and through elaborate finesse and aggressive explorations of artistic means. Gogel’s monumental mixed-media-sculpture meets Schmückle’s artificial floral-insectoid constructions as Indian ink drawings on paper.
Gogel’s formal vocabulary lives on an opulent repletion which allows for all kind of conceivable extremes. His sculpture ‘Kassierer’ appears as a beguiling metaphor for a world full of power-addicted excess on the brink of self-destruction. Radical opposites such as giving and taking, grandeur and wackiness are dealt with concretely and symbolically at the same time: Luscious, vigorous volutes contrast with cumbersome, drooping sculptural fragments. Figuratively, innumerable reasons emerge as to why things do not last forever and why civilizations collapse.
Similarly, Schmuckle’s baroque Indian ink works draw their energy from exuberant formal richness in sensual overabundance which already comprises decay and destruction. As erotically charged compositions they convey bodily sensations, wishes, and dreams which retain their ambivalence in the highly stylized, fantastic netting between a pretentious depiction of nature and idealized, almost repugnant artificiality.
As a synonym for power, CALIGULA conjures both artistic-philosophical aspects and the rearing ugly head of menace.
