ODONTODACTYLUS SCYLLARUS
The experience of painting, transferred to glass, produces pure colour vibrations that charge themselves with light. Adriano Berengo himself defines the artist as “a great colour painter able to mould matter and to exceed the figurative scheme, by using glass as pure colour.”
The form manifests itself as dynamic and free, thanks to the movement conferred to it. This sense of dynamism is what makes the glass sculptures of Zingerle even more unique and precious, as it derives from the absorption of surrounding energies, from the moment of conception to the eventual realization: the colour, the application of mathematical aspects, the parable, the dynamism, the physical and mental energy of the artist all interact with the sense of creativity that is able to transform the object and its materiality into art.
Avoiding systems of strict construction and escaping patterns of implementation, the artist achieves a representation in his work without being influenced by traditional building blocks. In this way, he manages to bridge the distance between his final piece and the initial sketch. Viewers do not perceive geometry, they glance over the form and lose themselves in sudden ecstatic sensations and emotions made up of colour, light and familiar, but undefined shapes.The forms that come into being through Zingerle’s artistic process fully embrace the theme of the experiment as well: this is another indispensable and pervasive element in the artist’s work. The transformation of glass to its fluid state is as if it has become frozen while emerging in the process: the metamorphosis from colour into substance could therefore be unpredictable; the sculpture will choose itself whether to become vegetal, animal or human…while to the spectator there remains nothing but to wait for the result of an experiment. Fascinated by the philosophical sensibility of the work of Jan Fabre, he reflects a strong spirituality in his sculptures, which are nonetheless rooted in reality, to the local soil. They are closely tied to us and recharge themselves with all of the surrounding energy that is part of the sculpture itself.
The aesthetic ambition is prevalent and predominant: detached from any political, social or local connotations, Wolfgang Zingerle aims for a universal message that communicates beauty without asking for rational comprehension, but rather for the required sensibility.
The form manifests itself as dynamic and free, thanks to the movement conferred to it. This sense of dynamism is what makes the glass sculptures of Zingerle even more unique and precious, as it derives from the absorption of surrounding energies, from the moment of conception to the eventual realization: the colour, the application of mathematical aspects, the parable, the dynamism, the physical and mental energy of the artist all interact with the sense of creativity that is able to transform the object and its materiality into art.
Avoiding systems of strict construction and escaping patterns of implementation, the artist achieves a representation in his work without being influenced by traditional building blocks. In this way, he manages to bridge the distance between his final piece and the initial sketch. Viewers do not perceive geometry, they glance over the form and lose themselves in sudden ecstatic sensations and emotions made up of colour, light and familiar, but undefined shapes.The forms that come into being through Zingerle’s artistic process fully embrace the theme of the experiment as well: this is another indispensable and pervasive element in the artist’s work. The transformation of glass to its fluid state is as if it has become frozen while emerging in the process: the metamorphosis from colour into substance could therefore be unpredictable; the sculpture will choose itself whether to become vegetal, animal or human…while to the spectator there remains nothing but to wait for the result of an experiment. Fascinated by the philosophical sensibility of the work of Jan Fabre, he reflects a strong spirituality in his sculptures, which are nonetheless rooted in reality, to the local soil. They are closely tied to us and recharge themselves with all of the surrounding energy that is part of the sculpture itself.
The aesthetic ambition is prevalent and predominant: detached from any political, social or local connotations, Wolfgang Zingerle aims for a universal message that communicates beauty without asking for rational comprehension, but rather for the required sensibility.
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