{"id":10,"date":"2016-08-22T12:09:44","date_gmt":"2016-08-22T10:09:44","guid":{"rendered":"https:\/\/www.fabianvogler.de\/en\/vita\/"},"modified":"2024-02-18T21:18:14","modified_gmt":"2024-02-18T20:18:14","slug":"vita","status":"publish","type":"page","link":"https:\/\/www.fabianvogler.de\/en\/vita\/","title":{"rendered":"Vita"},"content":{"rendered":"
\n
\n

VITA<\/h1>\n<\/div><\/div>\n
\n

FABIAN VOGLER<\/span> * 1977 | Hamburg<\/p>\n<\/div><\/div>\n<\/div>\n

\n
\n

\"\"<\/a><\/p>\n<\/div><\/div>\n

\n

Marion Elias: “(…) Fabian Vogler studied at the University of Applied Art in Vienna and received his Masters Degree in London in 2007. Here he discovers the balloon \u2013 as a way of “a spontaneous supporting armature”, he says. He further developed technical variations leading from “over modelling” then back to moulding. He uses these technoid materials such as balloons, tires from cars, bicycles and tractors in contrast to his archaic topics.

<\/span>All this could turn out round and nice and pretty and fluffy \u2013 but this is definitely not the essence of Voglers aesthetic competence.<\/p>\n
\n

The disruptions, fragments, left over plaster and damages are his essence. I am talking about the deformation of a boring, perfect balloon, of ties and knots of tires, all their passive means of structural forms like valves, brand names, linear patterns of fabrication and traces of wear and tear, patches, the<\/span> marks of sculpture tools \u2013 anything that creates tension, excitement and sensation in a piece of artwork. The work is under constant surveillance, Fabian Vogler does not leave it, from the first sketch to the finishing touches of the bronze surface. This is not self-understood nowadays; more often than not it is just an idea from the artist and delegated to a team of craftsmen. One should not underestimate the necessity of the perfect combination between the manual as well as the mental work. Fabian Vogler is an eminent example, an example how one deals with two- and three-dimensional images.\u00a0<\/span>(…)<\/span>\u201d<\/p>\n<\/div>\n

Thomas G\u00e4deke: “(…) <\/span>Born in Hamburg, grown up in Vienna, from the start Fabian Vogler was looking beyond Northern Germany. This perspective has<\/span> remained characteristic in him; he would otherwise not have chosen Las Palmas de Gran Canaria, Flensburg, Vienna as well as London as places for his education.<\/span>His studies in Vienna with Gerda Fassel and Monika Verhoeven are considered as a central part of his training. His apprenticeship, however, in wooden sculpture in Flensburg (since Sauermann traditional) has also made an essential contribution.<\/span><\/p>\n

In 2007, motivated by diverse support, the young sculptor, just thirty years old, settled down in the remote North Frisian village of Bargum. Here he has his studio<\/span> in a spacious former school. His frequent participation in international exhibitions and international commissions reveals how right his decision has been. Vogler\u2019s intensive work in the countryside where he finds his inspiration is ideally connected with the cosmopolitan world of art.\u00a0<\/span>(…)”<\/div>

<\/i>MORE<\/span><\/a><\/div>
<\/i>LESS<\/span><\/a><\/div><\/div>\n

Quotes from the book\u00a0<\/strong>\u201ePerfect Imperfection. Sculptures and Reliefs 2011-2015\u201c| pictus Verlag | 2015)<\/p>\n

\n