The Drawers - Karl-Heinz Boyke

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(ab strak' tid)

This conversation with abstraction wraps up with a strong, weighty foot in the place where abstraction solidified - modernism. Formalist and secure in craft, Boyke's work speaks within itself and to itself, communicating similarities between the individual sculptures as well as unique traits. With a hieroglyphic distinction, his language is best understood by the initiated. What appears to be privileged visual information is unraveled when the key to the source of the imagery is made clear. Closer inspection - and illumination by the artist for it is doubtful that the impressions would be read as such without direction - reveals that a horseshoe, a saw blade, the grip of a tool and other utilitarian items have been pressed into the original bed from which the bronze mould was made. The formation of the final bronze, from the first material (clay, wax or plasticine) is made by passing through a stage where a mould is made in which to pour the molten metal. Boyke, with a clear and curious eye, has been known to consider this passageway from positive through negative to resulting positive as worthy of notice. He has transformed the negative into the positive which would mean that a second negative must have been made. The relief titled Kleines Medallion  is an example of such a transformation.

Abstraction is rooted in the physical world. Though the idea for the making, the intellectual component, can be complicated, convoluted, mysterious, perhaps even confused; man exists within the physical and his expression, the art object, is also physical. (Ab strak’ tid) explores works of art that, from the workings of the mind, become structured, solid works of art. The physical dependency on the 'real' object in Boyke's method of fabrication illustrates this connection and brings (to mind) a question inherent in the concept of the abstract. Can any work of art truly lay claim to the word 'abstract' for the artist obfuscates the absolute abstract when he makes the idea exist as an object. Conceptual art took this niggling contradiction a step further, but for now, Headbones Gallery will 'abstract' the term 'abstract' by concentrating on the adjective 'abstracted' - and then take another step away by titling the exhibition phonetically.

Im Tal Der Konige - 2007, acrylic on paper, 16x12 inches


Pyramidal - 2007, acrylic on paper, 14x28 inches