The artist lives at Merano now but he did his sculpture studies at Florence. He worked long to create presences that have the strenght of the contrast between full and empty, between nature and artefact, between hot and cold. Contrasts, always unsolved, in a constant relation with the surrounding space. A relation that Egger, with time, has refined and concentrated to the contraposition and union between forms, stiles and materials, bringing them as close as possible to that one that is the closest between them. Drawing and colour, digital photography and sculpture, flat or bouncing images, or images reduced to their form or forms reduced to their image.

Often Egger carries out a formal reduction but never flattening and he constructs in this way a refined balance of perceptual adjustments, inevitably attractive for those who observe his “sopralluoghi”.

The subject of construction sites faithfully portrayed in the digital image presents sometimes major sometimes minor realities towards the material or “real” part in the dimension of the spectator.

The works of Ulrich Egger put photographical scenes next to steel slabs where strong buildings in construction are defined, pushed upwards by the image its size, buildings are defined by grey and empty skies, carried by foundations and gigantic titanical structures, all themes close to Egger’s heart.

Pipes, iron poles, architectural structures, research on materials and the linkings between metals and cements, on primary structures that, when evolving, they become ambiental and monumental scenes, are the protagonista of the anatomy of the elemento in the metropolitan life, where the expanding city without humanity walks side by side while discovering the soul of inert things.

The urban landscapes are undermined by the fragility, by intrinsic specificity of materials, by a lonely and metafysical inconvenience like abbandoning or maybe attending. The insistente with who Egger shows the meeting points, where the cement become colour in tones of greys, and the accumulating of bricks and slabs, that is the basis and the pretext to sound the visual profoundness, and give the idea of an ability of this artist that is put to the test in territories contaguous to sculpture and installation also when the idea creates a vertical structure for the wall.

The epicenter of his conceptual world, that finds a wise balance in a aesthetical layout of the image, is there where the soul of the metropolis waits for its builder, where the reinforced concrete remembers solidity and Utopia.

In occasion of the exhibition a catalogue, edition SKIRA/OREDARIA, will be publish. Critical essays will be by Andreas Hapkemeyer and Domenico De Masi.

INTRO

© 2003 OREDARIA TEMI E FORME DELL'ARTE SRL UNIPERSONALE