Manuel Wroblewski: H盲ndler Der Vier Jahreszeiten
In Manuel Wroblewski鈥檚 first exhibition at KEWENIG鈥檚 pied-脿-terre, the space becomes a parcours of floor-to-ceiling columns and pedestals at different heights which all bear fruit, vegetables, or seafood. This installation of sculptures appears simple at first glance. Only a few of the fruit sculptures are true to scale, most are enlarged, sometimes significantly enlarged, but the proportions are always harmonious.
For his works, Wroblewski almost exclusively uses found or obtained wooden crates from markets, mostly those for fruit and vegetables. He has been working with this material for several years and has created numerous objects that leave the original material recognisable. This also applies when Wroblewski paints the objects with gouache and oil paint in such a natural way that an almost trompe-l'oeil effect is achieved.
Oranges, garlic, radishes, cauliflower and lemons, for example, are depicted in their own, often bright colours. Their arrangement on columns, all made of the same thin wood and one of them decorated like the vedute of an Ionic column, refers to a higher value, beyond harvest, the farmer's market, kitchen or meal. For Wroblewski, this new attribution of value is an essential aspect of the reflected perception of the subject.
This also becomes clear in the pedestals for some of the sculptures. They are never simple cuboids; rather, the arrangement of coloured geometries evokes memories of the De Stijl aesthetic or the combination of monochrome spatial bodies of the plinths of Constantin Br芒ncu葯i (1876鈥�1957), who himself attributed a sculptural value to them. The fact that the purpose of the pedestal is to elevate and thus emphasise something valuable is of decisive importance in these works, as Wroblewski rejects the usual hierarchies: in terms of the care with which the materials are processed and their presence in the space, the pedestals are in no way inferior to the objects; both are enhanced here.
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In Manuel Wroblewski鈥檚 first exhibition at KEWENIG鈥檚 pied-脿-terre, the space becomes a parcours of floor-to-ceiling columns and pedestals at different heights which all bear fruit, vegetables, or seafood. This installation of sculptures appears simple at first glance. Only a few of the fruit sculptures are true to scale, most are enlarged, sometimes significantly enlarged, but the proportions are always harmonious.
For his works, Wroblewski almost exclusively uses found or obtained wooden crates from markets, mostly those for fruit and vegetables. He has been working with this material for several years and has created numerous objects that leave the original material recognisable. This also applies when Wroblewski paints the objects with gouache and oil paint in such a natural way that an almost trompe-l'oeil effect is achieved.
Oranges, garlic, radishes, cauliflower and lemons, for example, are depicted in their own, often bright colours. Their arrangement on columns, all made of the same thin wood and one of them decorated like the vedute of an Ionic column, refers to a higher value, beyond harvest, the farmer's market, kitchen or meal. For Wroblewski, this new attribution of value is an essential aspect of the reflected perception of the subject.
This also becomes clear in the pedestals for some of the sculptures. They are never simple cuboids; rather, the arrangement of coloured geometries evokes memories of the De Stijl aesthetic or the combination of monochrome spatial bodies of the plinths of Constantin Br芒ncu葯i (1876鈥�1957), who himself attributed a sculptural value to them. The fact that the purpose of the pedestal is to elevate and thus emphasise something valuable is of decisive importance in these works, as Wroblewski rejects the usual hierarchies: in terms of the care with which the materials are processed and their presence in the space, the pedestals are in no way inferior to the objects; both are enhanced here.
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