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Roland Goeschl, important representative of the Austrian avant-garde after 1945, increased the specific geometry of its objects with the primary colors of the Bauhaus era Red, Blue, Yellow.
 

His "colored extension of the sculpture" gives the basic forms based on pure constructivism additionally varied diversity. The observer, the observer, however, unfolds the full enjoyment usually only at the circling of the objects. By nuanced replied, strictly geometric principles obeying choreography on the repetition of basic forms of the objects in constant motion seem. Roland Goeschl brought us the universe evolutionary game types with simple visual formulas to the point.

Roland Goeschl died in Vienna, Dezember 2016.

Roland Goeschl concerning his work (Vienna, March 16, 1994):
Light, colour, the eye and the sensation of the individual produce chromatic appearances, which can be the beginning of an artistic activity.
Dealing with colour in a painting or in a sculpture demands a particular idea about colour as a means of representation.
The use of colour in sculpture requires a mode of design based on a compositional idea that goes far beyond the painting of an object.
The saying I coined years ago, “don’t colour, colour must become a material”, has two meanings in connection with sculpture.
It is not a sculpture’s simply being painted over that is decisive, but the creation of a chromatic structure in direct connection with the sculptural form.
That colour must become a material is a consideration of surfaces. Colour replaces the material’s surface, thus becoming the colour of the material’s presentation. Sculptural form and colour produce a unity when the one enters into an essential bond with the other.
This indispensable bond can be created through the compositional chromatic structure, as an intrusion into the sculptural form.?A compositional interrupter of form.
The realisation of these kinds of possibilities in design is only possible when the sculptural form is dealt with as the support of the colour.
The compositional demarcation of surfaces on the sculpture entails the possibility of applying colour.
The spatial effect in painting and sculpture is a clear structure made up of form and colour. The surface is a means of representation, a range of motion available to the colour-forms.
Inward penetration or outward emergence is created through the positioning of the individual geometric colour-forms in various ways.
The spatial shifts take effect in the eye of the viewer. This involvement through deliberate looking, the adjustment of the eyes and, in this way, the recognition and perhaps understanding of the pictorial structure and the sculpture are, for me, a visible bond with the object.