Sculptor Michael Felix Langer has a sort of alchemistic interest in all possibilities, combinations and transformations that can be made between the various subjects and materials. He used all kinds of different materials for his three-dimensional works and statues, such as wood, stone, iron, copper, aluminium, ceramics, glass, plastic, textile, wax and bronze. As a counterweight for the heavy, classical materials, he later started looking for lightweight materials that are less common for sculptors. A few years ago he designed a large installation, Diesseits, in which he processed paper. He created a shape that resembled a tornado: starting at a small point on the earth, spiralling up, becoming invitingly wider to eventually turn within again and close. The frame from four-millimetre wire spiralled up from the ground and was supported by vertical cross-bracings. He covered it with sturdy wrapping paper, torn into strips and well pasted, in two or three layers. On top of these layers he pasted wet-in-wet silk paper. This method creates an optically thin and fragile surface, with a slightly flaming pattern.
Since Diesseits he has continued working with paper, because paper is for him like a mould for spiritual or imaginary matters.
Diesseits / Beyond. Materials: silk paper, wrapping paper, and wire.
(photo: H. Heidrowski)
Sculptor Michael Felix Langer has a sort of alchemistic interest in all possibilities, combinations and transformations that can be made between the various subjects and materials. He used all kinds of different materials for his three-dimensional works and statues, such as wood, stone, iron, copper, aluminium, ceramics, glass, plastic, textile, wax and bronze. As a counterweight for the heavy, classical materials, he later started looking for lightweight materials that are less common for sculptors. A few years ago he designed a large installation, Diesseits, in which he processed paper. He created a shape that resembled a tornado: starting at a small point on the earth, spiralling up, becoming invitingly wider to eventually turn within again and close. The frame from four-millimetre wire spiralled up from the ground and was supported by vertical cross-bracings. He covered it with sturdy wrapping paper, torn into strips and well pasted, in two or three layers. On top of these layers he pasted wet-in-wet silk paper. This method creates an optically thin and fragile surface, with a slightly flaming pattern.