Günter Wagner

Günter Wagner is a sculptor – glass is for him an artistic significant carrier. His works are composed of different precisely processed materials. Coated cast iron, steel and lead develop conceptually with glass or mirror elements a combination with the light and the surrounding space. Mostly Wagner creates geometric shapes that transport the virtuosic in their varying materialism their contradictory effects. Ease and gravity, transparency and compactness unite in an extremely esthetic interplay. Together they build tension and relaxation that lead on their part into an almost mediatorial force.

In Günter Wagners objects, wall works and installations we experience glass in an unusual dimension for us. When he combines fragile glass with massive metal, the perception of the observer reverses because both materials can take up the part of the dormant, oppressive or the moved, easy moment. The two elements ease and gravity appear to easily pass over in each other. From this bipolarity his works obtain their internal tension and force of attraction.

Günter Wagner, born 1955 in Karlsruhe has been living for many years in Bruchsal. Initially, he studies graphic arts and painting in Marburg followed by a course in art at the State Academy in Karlsruhe. In 1988 he obtained a project stipend from the Bonn Art fund for sculpture in Italy. His works are exhibited with great success all over Germany, France, Belgium, Italy and Switzerland. Not until this year he received the art prize of Ettlingen Museum Society.

Together with the Art Association Münsterland in Coesfeld we have invited Günter Wagner to present his material overlapping creation in two parallel exhibitions: You can see his works here in the Glass Museum Alter Hof Herding and from June 21 in the Kunstverein Münsterland, Jakobiwall 1 in Coesfeld.

Photos:

Günter Wagner, Aufgesetzt, 1998 – Photo Günter Wagner

Günter Wagner, Ikarus, 2004 – Photo Günter Wagner

Günter Wagner, Hommage an Giovanni da Bologna, 2006 – Photo Horst Kolberg

Günter Wagner, Doppelkeil, 1996 – Photo Hildegard Morian