WELCOME TO THE GALLERY

Here you will find some Studies

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“TOAST – CUBE LETTERS” CHEESE, 4 site readable / rendering Cinema 4D / 2013 ©

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“A – CUBE LETTERS” 4 site readable / rendering Cinema 4D / 2013 ©

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“TOAST CUBE LETTERS” 4 site readable / rendering Cinema 4D / 2013 ©

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“S” 2 site / rendering Cinema 4D / 2013 ©

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“20″ Steelstick, 2 site / rendering Cinema 4D / 2013 ©

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“S” 4 site readable / WOOD / PROTOTYPE / 50x30x20cm / 2010 ©

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“TOAST” / rendering Cinema 4D / 2012 ©

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“MLS-BLACK” Installation /99 pieces, MDF/ 2010 ©

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“HYPE-BALLOON” Installation / PVC black / inflatable / 1.6 x 1.6 x 6.5m / 2010 ©

The inflated sculpture spelling the word HYPE reflects on the phenomenon of literally filling a pretty, thin outer shell with nothing but hot air making it very superfluous and shallow in meaning yet bold and impressive in appearance.

Andy Warhol’s 15 minutes of fame have gained more weight in our times thru the entertainment-industry’s hunger for new acts, shows, music, etc… HYPES.

HYPES are created and fueled by emotions and desires, mostly the “objet-de-desir” is far from being a necessity that is a piece of art which lifts a HYPE to even higher levels making it less understandable or affordable for common people.

Honest observation of the current state of our planet and our humanity reveals a crucial and abominable reality.

This HYPE creates awareness, this HYPE touches.

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“STAIRS” Installation MLS / Wood MDF / 40x40x40cm / 2007 ©

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“MLS LETTERS” Installation / Steel / 2008 ©

These standing letters reflect the metalboards series by using the same materials. The letters are projected into
space, following both architectural and typographical principles. As in architecture, light is the crucial element in their
construction. The more the letters can be observed from different angles, the more they build a fully fledged sculpture
and hence create more tension. Simplicity and functionality were key guidelines for building this sculpture.

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“FLYING HEARTS” TOAST / Wall on DAFEN ART MUSEUM, China / 2010 ©

TYPOGRAPHY IS THE ESSENCE OF GRAFFITIWRITING
The goal of this piece is to showcase the synergy and connections between typography,graffiti and architecture – the third dimension.
In order to emphasize the pure straight and angular core message, organic forms were avoided on purpose. All other popular decorations like outlines, effects etc fell victim to reduction and purification which raises the challenge to create an esthetic union.
The essential elements are being repeated over and over, from the smallest unit, the angle, to the letter and to the resulting word, the “style”. This repetitive way of working can also be found in the rhythm of architecture, but it is especially important in graffitiwriting where each writer constantly repeats his name.
The scheme of the elementary colors red blue and white is used to separate the singular elements from another and push the legibility. Luck and wealth, symbolized by the color red, as well as the direct opposite, grief and death, in this case white, are being carried into immortality into the blue sky by heart-shaped balloons.

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“TOAST33″ Graphic / ai. / 2011 ©

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“S” & “T” Connector System Installation / prototype wood / with acrylic / 2011 ©

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“3 LEG” Installation / Wood / ACRYLIC black-white-poisengreen / ca. 2,5 x 2.5 x 1.6 m / 2011 ©

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“MLS 03″ Installation / T,A,S , prototyp PVC / 2011 ©

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“Toast3eck” Graphic / ai. / 2011 ©

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“POPPY” Graphic / ai. / 2011 ©

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“88″ MACAO Installation / 3D rendering / 2011 ©

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“TOAST100″ Installation / 3D rendering / 2011 ©

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“TOAST-ZüRICH01” Installation / 3D rendering / 2011 ©

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“TOAST-ZüRICH” Installation / 3D rendering / 2011 ©

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“TOAST-STICKS” Installation / 3D rendering / 2011 ©

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“MLS-T” & “MLS-FLOCKE” Installation / 8 pieces, 39 pieces/ PVC / 2011 ©

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“MLS-FLOCKE” Installation / 39 pieces, Wood / 2011 ©

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“S” Installation P.O.V. / Steel / Rendering by Stefan Künzler / Prototype / 2011 ©

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“B” & “E” Installation MLS / Wood MDF / 30x30x2cm each piece / 2009 ©

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Ausstellung “Die Kunst ist weiblich” mit Gunter Sachs

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METALBOARDS

The metalboards series wants to create a connection to graffiti culture by emphasizing the observer‘s point of view, which also plays a crucial role in the act of graffiti writing. The images vary in intensity and become alive once the observer starts to move. The arrangement wants to reflect the atmosphere of painting graffiti on trains at night. Everything is peaceful and quiet. The scene lies in the dark, only the occasional lamp post is somehow reflected in the steel panels of the train. The graffiti writer has to refrain from using any artificial sources of light to operate in the dark without getting noticed. As the painting in progress can hardly be seen, the act of painting becomes intuitive.
The only clues are provided by glossy patches of wet paint against matt, dry areas. Only by stepping a few steps back, the graffiti writer has the necessary distance to see the result of his creative act. That is also how the metalboards series works.

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