Sculptures de lumière
The coloured vision of Adalbert Gans
„All invisible things adhere to the visible, the audible to the inaudible, the tactile to the nonactile. And perhaps the thinkable to the unthinkable. “Novalis”
If you want to position him in a certain art movement than it would be abstract art. Nevertheless the art industry isn’t his home nor his oral culture.
He’s a cosmopolitan. His frivolous restlessness makes him belong neither here or there and at the same time everywhere. He ripped himself away from any geography or conformism and wanders the globe as a charming, posh, bum, drinking life lusciously. The spirit within his art is sought and recognized in the grotesque human behaviour.
Although he suffered some mild damages along the path of his life, inflicted by life itself and the peculiar path he choose to follow.
Constantly searching for… life, experiences, people, love, stimuli, miracles even…
Or maybe he is constantly trying to escape everything that is contaminated with the virus of conformism and establishment, that threatens the free roaming artists’ soul.
He regards his life here on earth as a passing moment in which he takes every opportunity to drown his soul in the moment, with an unseen eagerness.
Whatever it is that moves him, between the eagerness of discovery and the restless escapism, Gans holds an unlimited spiritualism and love for life. He shocks, touches, moves, and lashes out with his language of colours and forms. Every painting, or light-object is a glimpse of the insight of men or himself in which he does not avoid the/his imperfection. Every work he makes emerges from a roaring, burning passion of creating and existing.
He shows everything and nothing. He paints and builds a flood of energy which triggers „ a nervous concussion that is felt in the cerebellum“ – and this, according to Baudelaire, is the quality of all „sublime thoughts.“
Like the Minimalists he works in series, one of which could have as many as five to eight parts and include ten or twelve independent paintings or drawings. While his work appears to be rigid, it remains sensual. His work transmits a poetic essence and a deep vitality. Colours, geometrical forms and light are the tools with which he’s working, transforming sensation into objects, drawings and paintings. Mostly he starts his paintings on the floor, moving them during the working process to the wall. With pipettes, brushes and ink rollers he applies paint, time after time removing and applying again, creating a 3-dimensional illusion. His work emerges, it is not dreamed up or imagined in advance. In a similar way the light-objects are created layer by layer, leading the viewer into another experience of space. Adalbert uses light as an additional colour that lifts the others to a different level.
The game between dimensions, sharp outlines, shapes and abstract organic colour-use create a sense freedom and space, which leads the spectator into Adalberts’ no-mans-land giving him a sense of Adalbert Gans’ restless but intense mind and soul.