Max Gärtner’s latest works are radiant, metallic figures, whose contours arc around their inhabited space. However, this enduring material is deceptive. It is, in fact, hand-cut paper. These robust, motivic figures are so sensitive that they need to be protected behind glass.
Gärtner draws his detailed motifs on a flat plain until, through the fine cuts along the drawn lines, they ascend, expand and the drawing finally detaches from the paper and unfolds in the space. The presence of these works occurs in this synthesis between graphics and sculpture, and it is precisely these categories which are seemingly defied.
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