During the heyday of Modernism, geometry was thought to be a means to keep too much individual emotion out of art.
Basic geometry was seen as having enough potential of its own to convey a strong aesthetic statement.
However, the self was constantly itching under the artist’s skins.
Sayler allowed colour back into his works (and not just a little), while using so-called basic elements for the shapes in his compositions, configuring them with the help of coincidence.
As such his works have become both quasi-objective and almost lyrical with their intense colours.
Hilgemann saw the potential of imploding a perfect three-dimensional shape into a crumpled character.
Both artists have since then attained an individual craftsmanship based on experience and intuition.
Personally, i’d say they brought brilliance to their work by letting the colours and the reflections shine invitingly, a brilliance much needed in this sombre autumn.
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© Villa Next Door 2020
Contents of all photographs courtesy to Diet Sayler, Ewerdt Hilgemann and PARTS project, Den Haag.
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