76 x 75 x 68 cm
Stainless steel, polished
Collection Museum Haus Konstruktiv
Donated by the artist
Although the sculptures and drawings of Florin Granwehr (born 1942 in St. Gallen, Switzerland and died 2019 in Zurich, Switzerland) are based on a rational system, he nonetheless claims they have little in common with the Zurich school of Concrete Art. Despite this, Granwehr’s working method integrates both Constructivist and Concrete elements. The artist consistently breaks with rigid regularity, letting poetic moments shine through. Early on in his career, Granwehr, who is also a trained conservator of paintings and sculptures, developed brass sculptures that were influenced by Constructivism. Then, in the mid-1970s, he began using prefabricated industrial elements – like aluminum profiles, plastic tubes, and rubber – for the construction of spatial sculptures.
In the 1980s, he began to focus more on large sculptures – some of which were developed for public space – and on art in architecture works, like “Axiomat” (1990) at the community center in Wollishofen in Zurich, “Angulon” (1999) in the courtyard of the courthouse in Zurich, and “Transeunt” (2005) located in front of the staff housing of the Kantonsspital in Zurich. These works are the products of a working process that consists of several stages, beginning with sketches and geometric drawings that are organized in series and combined with specific numerical ratios and series. In these arrangements, the two-dimensional geometric forms seem to acquire a stereometric, three-dimensional character before they are finally realized as large sculptures and spatial structures. Each monumental work is thus accompanied by various small sculptural models, which often consist of squared timbers painted white. While these represent every possible variation, they are also autonomous artworks in themselves. Granwehr has often interrupted his sculptural work for periods of time to devote himself entirely to his theorem, which he began to develop elaborately and meticulously in 1992 and was able to prove in 2000. This theorem is oriented toward a harmonic order based on a numerical foundation he invented himself with a series of quotients consisting of ones: 1, 11, 111, 1111, and so forth. Since then, he has combined these numbers in thousands of pencil drawings, arranging them in the most diverse constellations and noting the minute changes from page to page. His “Granwehrsches Theorem” is located at the intersection of science and art and has since become the basis for all of his sculptures.
Dominique von Burg