HARRY ABEND: THE SUPREME ACHIEVEMENT OF THE ESSENTIAL
On view: 10 OCTOBER 2014 – 15 NOVEMBER 2014
The selection of thirteen sculptures and their preparatory drawings by Harry Abend from the series Basic Forms (1965-1967) and the photographs taken by Barbara Brandli is a restaging of a previous scenario. This body of work is testimony of the ability of an artwork to persist, to demonstrate consistency and fidelity to itself despite the passing of time and the changing of aesthetic relationships and contexts. Abend’s works accept their chronological placement, their technical specifications and their distinct details of identification; however, they all strive towards an objective and widespread understanding. They maintain a unity despite diversity and, in the same way, they affirm their differences without allowing disintegration. This is because the works within the series can coexist due to singular plastic arrangement and a similar aesthetic model.
This notable aesthetic grouping reveals itself through a masterly command of geometric languages that propel interactive games of angles but with an overall sense of stability. The orthogonal, in the case of these sculptures, and the sensitivity, in the case of the preparatory drawings, far from distancing themselves with antithetical opinions , come closer to a registry of shared concerns. The consolidation of these resolutive guidelines inscribes itself in the model of a condensed geometric language. To this effect, from the parallelepiped, the cube, the cylinder and the sphere, the artist promotes declarations of plastic pluralities. There is no doubt that Harry Abend displaces his multiple investigations within the interiority of a single abstract-geometric conviction and from an origin of unity, simplicity and synthesis.
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