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The impression of contrast is supported by the material used by Woerle: Iron as a natural material needs to be techni- cally worked at
by man before the artist can use it as a lasting raw material. By applying oxidizing acids the artist starts a process which nature will continue without him and which will change, maybe even destroy his
work. What appears stable and unchangeable at first sight reveals itself as vulnerable and unstable. The rust which develops
through the oxygen of the air changes the iron's smooth surface into a poious and breathing surface, the cold metal is covered by a warm color. The relaitionship between duration and transitoriness reverses,
and what can be seen as a danger to duraibility and continuance is at the same time an expression of life and a natural process whose nature is change.
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Franz F. Woerle therefore on the one hand keeps up the tradition of constructivism which used industrial materials and
engineering technics and created abstract stereometric sculptures.
It is, however, unlike the constructivists of the first third of the 20th century not his aim to find an equivalent expression of
the new world run by mathematics and technology.
But that this world and the intermediate position of the human being in it is questioned by Franz F. Woerle is not only apparent by his purposely
doing away with the perfection of straight lines and smooth surfaces.Woerle's sculptures rarely exceed the human dimension and also their vertical direction alludes to the human being. The
sculptures concentrate on two subjects which are closely related to each other.
This is for one the group of the "Steles" - mostly upright prisms which open at the top. These sculptures at
first sight give the impression of a steady consistency.
Only when walking around the spectator sees the opening |
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