This captivating contemporary artwork features a playful juxtaposition of diverse elements. The composition combines geometric shapes in a muted color palette, with a spherical chrome object providing a striking contrast. The prominent use of natural materials, such as the wooden rods, lends a tactile quality to the piece. The artist seems to explore the interplay between the organic and the industrial, inviting the viewer to consider the relationship between form, function, and the perceptions we associate with different objects. This thought-provoking work likely reflects the artist's intention to challenge conventional notions of sculptural design and prompt deeper contemplation on the nature of artistic expression. ...
Kaspar Müller (b. 1983, Schaffhausen) lives and works in Berlin and Zurich. In his practice seemingly familiar objects somehow appear as hieroglyphs. A cast of everyday, yet nonetheless strangely hermetic motifs reappear throughout his oeuvre like vanished memories. Recoded, recalcitrant, and on first glance sometimes stubbornly mute, past works have ranged from physically tangible sculpture to shadowy reproductions of images. Often working in recursive loops, Müller creates elusive installations that stage the fluctuations and transformation of the creative process between the space of the studio and the gallery. For Müller, this process is akin to archeology, yet the things he addresses aren’t hidden; we simply don’t pay attention to them. The moment that their latent qualities suddenly emerge and seem connected and appealing is an exciting moment, which, as Müller notes, is “prone to mystification.” Müller’s works examine the residues of different systems of production and value, honing in on the formal and associative qualities of everyday objects and goods. With his lamp sculptures, Müller engages with how industrial lighting, from its inception to the current day, functions as a means to create a mood or atmosphere through the expression of one’s aesthetic affinities. Müller’s interest in notions of craft and reproduction, and vintage and “fake vintage,” led him to bring together an exuberant yet discordant constellation of bulbs as a kind of mirror of the range of industrial production and contemporary taste. ...
