Gerhard Frömel
For Gerhard Frömel, the square is sufficient to formulate it in surprising diversity.
The square had a special significance in modernism, was a caesura in reductive representation, the maximum in the minimum. For Gerhard Frömel, the square is sufficient to formulate it in surprising diversity. Oscillating between surface and space, Frömel's works are clearly ambiguous, depending on the position from which they are viewed. And there is only ever one position that suggests a particular interpretation of space. If you change your point of view, levels and spaces become visible that open up entirely new realities. Views that reveal Gerhard Frömel's purist aesthetic of refined and pointed deception. In this way, Gerhard Frömel playfully scrutinises the serious question of truth in each of his works.„My three-dimensional objects and installations consist of individual parts, always positioned on two and sometimes several levels. You as the viewer can, by changing your position to trigger optical shifts, separations and connections of two-dimensional or linear elements, creating a variety of forms and illusionary spaces, switch between two- and three-dimensional experiences.“ (Quote Gerhard Frömel)