"Art does not reproduce the visible; rather,
it makes visible." This often quoted remark
belongs to the essential and eminent programmatic statements
of art history of the 20th century. It was the painter
Paul Klee who wrote this lapidary and yet powerful sentence
in the year 1918, at the start of his artistic career,
which he termed his “Creative Confession”. “Art does
not reproduce the visible; rather, it makes visible"
- this was explosive in the context of the beginning
of the 20th century. For with it he challenged categorically
and radically the principle of reproduction in the fine
arts that had been valid for centuries. It had to do
with the autonomy of artistic media and the liberation
of the intellectual from the constraints of object and
material. It was the birthday of abstract art. That
was 100 years ago, but it is worthwhile quoting Paul
Klee again and again, especially today in this place.
The artistic works of Thomas Werk (born 1971 in former
East-Berlin), which starting today are exhibited in
this lovely church, are linked closely to that quote.
It is the sober yet lofty tone in Paul Klee’s words:
both are crucial power moments in the works of Thomas
Werk, the lapidary and the revelation, the sobriety
and the lofty standard - making the invisible visible.
This means the refusal to illustrate visible objective
reality. All works shown here today have a Christian
or religious inspiration as starting point. There are
33 exhibited works of which seven sculptures are made
of steel, one of wood, and 25 paintings…
All pieces
have been given a title by the artist: “Sermon on the
Mount”, “Cup of Sorrow”, “Forgiveness”, "Prayer",
"Crucifix", "Pieta", "The Resurrected
One" und "Heaven Open", just to name
a few…All of Thomas Werk’s works are free figurations,
that allow an association to real objects, but never
reproduce or illustrate visible objects. The paintings
are emblematic and gestural forms with surrounding areas
on wide surfaces. The sculptures create their own spaces
through three-dimensionality… Whether painted or sculptured
in three dimensions, whether dynamic or immobile, they
create spaces of imagination. They don’t tell us anything
we already know; they command nothing - these “Signs
and Paths” - the title of this exhibition - they are
in fact seeking something. The visual energy needed
to seek form and expression in these emblematic works
contains a powerful moment of deep inner stirring. That
means that every picture - for example the one depicted
on the invitation - "I’ll tell you about
my ways” based on Psalm 119 - testifies to being deeply
stirred… Through a close-up view it becomes clear that
no preparatory drawings were necessary, because the
search of which we just spoke is an approach, prepared
in thought and emotions, and then rendered in quick
process to the resulting image. Inspired and influenced
by words from the Gospels (Sermon on the Mount, Golgotha
and others) or by the stirring poetry of the Psalms
- these words the artist has penciled on the surface
of the picture in tiny, narrow, hardly noticeable lettering.
They are pictorial codes and paraphrases, from which
sensitivity, brush in hand, paper and a specific point
in time all come together in a concentrated, energetic,
quick and exceedingly precise act. Each picture is a
risky venture, for the result is not rectifiable. The
artist can throw it away or accept it, but not correct
it. It happens. That means that what we see here on
these walls are happenings, testimonies of being inwardly
stirred, and hence testimonies of vulnerability and
difficulty, which, by the way, are fundamental moments
of faith. There is no faith without inner poignancy
and hardship…
The figurations - blocks, circles,
and bars - often have no firm contours; they fray out,
they open up, they leave behind spots and splatters
of paint. They are imperfect and seek something in the
wide area of the picture. Who knows the paths?
The minimalized use of color is conspicuous… Thomas
Werk gets by in effect with two colors: rust red and
black, no beautiful shining colors. They are rather
dull and lusterless, and even the bold, but seldom used
yellow is mixed in a dark shade, as to deliberately
avoid brilliancy…The rust red is a common wood preservation
lacquer from Sweden, very durable…Black is from the
same matrix…Hence the art pieces take on a sternness
and exude not only an amazing force, but also benefit
the eye of the beholder, in contrast to the obtrusive
“image noise” so abundant in our urban spaces today…
Thomas Werk’s works are ascetic; they are fasting. Pictures
and sculptures alike have something meager and reticent
about them, and in this abstentious asceticism there
lies an enigma, calligraphic preciosity made from insignificant
materials…"
Dr. Christine Goetz
Art Commissioner of the Archbishopric
of Berlin; from opening speech at the opening of the
exhibition SIGNS AND PATHS, Kirche Am Hohenzollernplatz,
20 September 2008
Monumental thinking has had a sustainable influence
on the present day. Humankind tries to control nature
and history and creates thereby a world of destruction.
"Angel", "Prayer" und "Praying
Hands" - works of the Berlin artist Thomas
Werk - stand in the intersection of these existential
tensions. These monuments speak of a great longing for
peace, truth and spiritual strength. At the same time
they are a sign from another world that can give our
life direction and wisdom. Where should they be situated?
In our landscapes and cities as a testimony of our esteem
and respect for vulnerable creation…
Dr. Bernward Konermann
KÜNSTLERHAUS BERLIN,
December 2004
Star of Bethlehem
The expectations in the nation of Israel were quite
different. In this sense the sculpture is similar to
the Star of Bethlehem. It is hard to understand, like
the sign from heaven, and awaits an interpretation.
Divine FullnessWith this radically simple geometric
form the artist tries to grant expression to the secret
of Christmas. It has to do with the incarnation of God,
the union of God and humankind in Jesus Christ. In him
heaven and earth touch each other, the Infinite with
the finite. The circle permeated from all sides catches
our eye. It unites, holds and bundles together. Concentrated
energy can be perceived. In its consolidation without
beginning and end it is a symbol for God. In the otherwise
empty center three square ingots cross or inter-penetrate.
They seem to intersect the circle with sheer force,
to fill and define the center…Symbolically speaking,
the two standing beams form an X and point to the first
letter of the Greek sovereign title for Jesus: "Christos"
- "Anointed One" (Hebrew "Messiah").
The horizontal massive beam is evocative of the cross
and hence of the death of Jesus. The rays are a result
of the beams having crossed through the circle, after
the agonizing suffering. They announce firstly the glory
that comes from God and secondly the humiliation and
limitation of human violence. An Expectant VoidThe pedestal
on which the massive star rests resembles a simple house
with a solid, continuous base and short end walls that
slant to form a roof, circumscribing an almost triangular
open space. This house radiates openness and at the
same time security and protection. Everything seems
to be prepared for the arrival: In the horizontals we
perceive the manger, in the slanting beams that meet
in the center of the circle we sense symbolically Mary
and Joseph, who bend toward one another in expectation.
God has come visibly to rest upon this house in the
form of a star to give the yet invisible reality a protected
space, for Mary and Joseph await this night the birth
of divine Light. This star over Bethlehem shines restrainedly.
But doesn’t it already reflect the light of another
Light source that by now illuminates the night? FulfillmentAfter
such contemplation, Thomas Werk’s steel sculpture conjures
up more thoughts than could at first be expected. Simple
elements allow the well-known to be seen in new context.
Rooted in matter, the elements express the metaphysical,
the invisible, the essence that characterize that holy
night. These insights would be incomplete, however,
if they would comprehend the star only from the perspective
of the work’s title. For the entire sculpture can also
be viewed as a standing figure whose arms are depicted
by the ends of the horizontal beams. The strong simplification
probably allows for more than the two approaches already
explained. Through the massive, angular construction,
the figure appears on the one hand to have a wide, cumbersome
stance like a resistance fighter with a strongly armored
abdomen. On the other hand the two verticals could be
seen as two figures that bend backwards and embrace
each other in the center, holding their “heads” over
the circle to look at each other. From this viewpoint
the horizontal beams become a burden that pervades the
mutual spheres of life of both figures. Together they
can stem the weight and persevere through the strength
that is implied in the circle. Thus the star could point
to the fact that the star of Bethlehem is also the star
over my house and over my life. It’s existence would
not only announce the arrival of the divine Child, but
also the protective and strengthening presence of God
– from the cradle to the key times of life to the grave.
Always present in the center of life, ever-present where
the fullness of life is carried through love’s encounters.
This art reflection was initially published in "das
münster" (4/2007 issue), the magazine
for Christian art, aesthetics and art history.
Patrik Scherrer; Stern von Bethlehem;
5.01.2008
Trinity
Can such uncomplicated geometrical figures point
to God? Can they speak symbolically of a vis-á-vis
that reveals itself in a three-fold nature and the personhoods
Father, Son and Holy Spirit? Can the basic abstract
forms be attributed to these three concepts of God?Because
the square and circle stand as partners next to each
other, they can be interpreted as symbols for the Father
and the Son. The triangle linking the two indicates
the Holy Spirit, who according to the Creed emanates
from the Father and the Son. Now whether the circle
or the square symbolizes the Father or the Son depends
on the interpretation: On the one hand, the circle could
represent the Son, because he is painted as closest
to us. Through him and in the Holy Spirit we have access
to the Father who has created the world and can be symbolized
by a square representing the four points of the compass
and alluding to the universe. But it could also be exactly
the opposite. The circle, because it has no beginning
and no end, could represent the Father, who is from
eternity, and together with the Son and Holy Spirit
has created life. The square would be the symbol for
the Son, because he took on earthly form, becoming a
man in our world. All are attempts to bring the incomprehensibility
of God into our imagination by means of symbols. It
astonishes how agreeably the abstract figures bring
to life the abstract concept of God. But can the forms
also be interpreted in a down-to-earth, human fashion?
Most of us relate emotionally the circle, the rounded
form, to the woman and the rectangle to the man. And
ideally, man and woman stand together on equal footing
next to each other. Could it be so interpreted that
the “higher” triangle that binds the two “earthly beings”
together is the symbol for the divine Trinity, the transcending
and uniting echelon from which love flows – to one another
and, beyond that partnership, to God and to one’s neighbors?
Patrik Scherrer
bildimpuls;
Trinity; 9.6.20
The Good Samaritan
Without help it would probably not occur to us that
this linear figure could be the Good Samaritan. The
outlines allow for other connotations such as a foot
or a head. The brownish black band that dominates the
artwork seems to have been applied to the paper with
a wide pen: Beginning strokes are recognizable and the
out-flowing shades of color give the impression that
the lines were made with one stroke of the pen. The
band introduces the most important aspect of the picture.
A tree-like figure is developed on a relatively small
basis that doubles in the middle and then takes on many
curves. At three points the three short bands send out
rays from the basic figure. Is one person being portrayed
or is it two? The two horseshoe-like arches in the upper
left suggest the heads of two persons. The two circular
forms in the center of the picture suggest hands, and
when we also observe the implied legs, we can then recognize
an erect person moving toward the left and carrying
another person pickaback. In the Bible we are told that
the Samaritan had pity on the man beaten by robbers.
In his mercy he stopped his journey and dismounted,
bent over the injured man in order to nurse his wounds
with oil and wine, and then brought him to an inn where
he could be further cared for (Luke 10:30-35).In comparison
the Samaritan here is portrayed as the one who carries
the injured man. Does he not demonstrate his mercy in
taking charge of the other man, and does he not also
put a burden on himself as well as on his animal? And
it even seems as though he has burdened himself with
three other persons who need his supporting help. Surprisingly,
the Good Shepherd is also recognizable in the portrayed
form as the One who searches for his lost sheep and
when he has found it tired and injured, brings it home
on his shoulders. (Luke 15:5). Both forms are congruent
with the fundamental attitude of sympathy and compassion
(from the Greek syn + pathein = with pity)…It is not
without good reason that Jesus used the parable of the
Good Samaritan as an example for the teachers of the
Mosaic law to express that they too (and we as well)
should go and do likewise (Luke 10:36-37).I already
mentioned that the band introduces the essential aspect
of the picture. Metaphorically speaking, it expresses
that compassion – the heart full of mercy and sympathy
– is the strength that overcomes all imaginable barriers
and brings people together in a new sense of solidarity.
Patrik Scherrer
bildimpuls;
The Good Samaritan;
15.7.2006
Essence, the essential reality is depicted. Notable
integrity and a respectful position of distance lie
herein, as seen in his approach to the figure of Jesus
of Nazareth, and above all, in his approach to the Trinity.
The art of reduction into an individual visual language
pervades all of his artwork. It allows the space alluded
to through figures to be expanded from the recognizable
of the here and now into the depths of transcendence...
With his technique, a few brush strokes on paper, Thomas
Werk brings modern-day humanity discreetly and undogmatically
closer to the essence of the Christian message. With
contemporary perception and means of expression he turns
the well known into something new. Each of his works
is therefore a guidepost to Christian themes – on a
highly artistic level. Thus he works in the spirit of
Josef Beuys who never wanted to see a work of art for
itself alone, but always in a definite context. Tastefulness,
zestfulness, superficial beauty – these are phrases
that do not fit the artwork of Thomas Werk. Rather truth
and clarity are that which radiate from them, that which
is important to the artist. Truth has its own beauty,
and in this sense his artwork is beautiful, very beautiful.
Dr. Irmtraud Kulzer
Würzburg, June 2008 |