Tique | art paper asks six questions to an artist about their work and inspiration.
This week: Sebastian Wickeroth.
Lives in Dusseldorf, Germany
How do you describe your own art practice?
I find it difficult to outline a general art practice as my works divide into different groups or bodies of work. But what they all have in common is the aspect of transition and transformation which can be described as the main subject of my recent work. Transition of forms, of material, of color.
The transition of life. Everything around us is passing through a process of continual change and transformation.
I combine elements of painting, sculpture and architecture.
Simple materials like plasterboard walls, wood, styrofoam and enamel turn into room-filling, extensive interventions in space.
In form and content, the decomposition of geometrical shapes is an important
element of my work. Cubes and walls are breaking up onto the floor.
Shape and decomposition are faced with each other, are merging.
Corrosion counters the monochrome perfection, and generates a kind of narrative element.
The ruinous pictorial space surveys suggest logic and causality of incidences that never happened. It’s not about the destruction of a sculpture, but to create decomposition as an equal mode of construction. Seemingly accidental and unregulated occurrences emerge as composed structures.
What was your first experience with art?
Initially i studied architecture. And pretty quickly I found out that I didn’t want to become an architect. But my concernment with architecture was a kind of trigger and an intensifier for all my previous experiences and approaches to art. From there it fanned out into the fields of drawing, painting, sculpture and installation. Of course i had experiences with art prior to that, but dealing with the topics of architecture determined many further developments within my work.
What is your greatest source of inspiration?
I take a lot of photos. In most cases accidental constallations and unusual behaviour of material attracts my attention. This can be really simple and unspectacular things. Of course I’m also receiving inspiration through art, design, music or architecture. But actually I try to reduce these influences to a minimum. To simply absorb things that happen around me seems much more substantial and real to me. Even things that are light-years away from what I am doing can be a great inspiration.
What do you need in order to create your work?
Not much. I prefer simple materials which are obtainable almost everywhere. If possible I usually start spending a lot of time in the exhibition space. Even if the work is not site specific in the end. The space is a starting point, the premise.
What are you working on at the moment?
Currently I develop a series of picture objects which include photography. That’s the first time I’m using photography, feels pretty exciting to me! I’m working on different projects and exhibitions in Paris, Marseille and Berlin. Next show will be a solo exhibition in Paris at Paris-Beijing gallery. But I’m also working on a project in collaboration with the swatch group in Shanghai.
What work or artist has most recently surprised you?
Recently I plunged deeper into Japanese art of the mid 20th century, or more specifically the Mono-ha group. As I was influenced a lot by minimal and conceptual art, the Mono-ha artist added their own very special approach to this art form. It is fascinating to see at which point the ideas and approaches of western minimal art and Mono-ha diverge.