Sylvia Reiser
LAUDATIO
Prof. Dr. Roland Doschka, internationally renowned curator, art critic and art collector. Excerpt from his speech on the occasion of an opening event at the district court in Stuttgart.
... 'At first glimpse, Sylvia Reiser's sculptures seem playful, lyrical and delicate. They actually appear to have a festive effect, moving aside the daily grind. ... They are bejewelled with gleaming gold ... immaculate marble and that unique lapis lazuli blue which has always been considered as one of the most precious colours. ... Sylvia Reiser strives to combine geometry with organic random forms. She doesn't merely create a contrast between the crystalline shapes of the marble and the plant-like, blossoming forms of the golden sheets; she sets the contrast of the heavy marble structures against the floating gracefulness, or more accurately, the weightlessness of the golden forms that are set into motion by the slightest waft of air. The monumentality of the marble is offset by the lightness of its playful counterpart of golden and blue lapis lazuli forms. ... This makes her sculptures so appealing.
Her sculptures and metal objects embody movement, an 'élan vital', continuously flowing, and evolving. The shapes, which inscribe themselves in the room, seem like Far Eastern sketches, like living calligraphic characters. The mirror-like gold-plated surfaces absorb their surroundings and reflect their structure. It is therefore not surprising that Sylvia Reiser's work has quite a following in China and Japan. As you know, the flow of energy and its constant movement plays a key role in Far Eastern art and philosophy.'
... 'At first glimpse, Sylvia Reiser's sculptures seem playful, lyrical and delicate. They actually appear to have a festive effect, moving aside the daily grind. ... They are bejewelled with gleaming gold ... immaculate marble and that unique lapis lazuli blue which has always been considered as one of the most precious colours. ... Sylvia Reiser strives to combine geometry with organic random forms. She doesn't merely create a contrast between the crystalline shapes of the marble and the plant-like, blossoming forms of the golden sheets; she sets the contrast of the heavy marble structures against the floating gracefulness, or more accurately, the weightlessness of the golden forms that are set into motion by the slightest waft of air. The monumentality of the marble is offset by the lightness of its playful counterpart of golden and blue lapis lazuli forms. ... This makes her sculptures so appealing.
Her sculptures and metal objects embody movement, an 'élan vital', continuously flowing, and evolving. The shapes, which inscribe themselves in the room, seem like Far Eastern sketches, like living calligraphic characters. The mirror-like gold-plated surfaces absorb their surroundings and reflect their structure. It is therefore not surprising that Sylvia Reiser's work has quite a following in China and Japan. As you know, the flow of energy and its constant movement plays a key role in Far Eastern art and philosophy.'
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