About the work of Christian Schreckenberger

(Dr. Emanuel Mir, 2014)

(…) Christian Schreckenbergers parallel universe is now filled with hundreds, if not thousands of objects. Few of these objects have manifested themselves in the three-dimensional world and the vast majority exists only as drawings. They either lay resting, awaiting their impending birth, or become eternally fossilised on paper like a failed species in a demanding environment. The designs which have been realised have taken all conceivable forms. They consist of a diverse range of materials and conjugate all textures, structures, materials and colours. They are ornaments, implements, fragments of quotations, gestures which have taken form or material experiments. Upon first glace it is only their heterogeneous, open character which connects them. (…)
Every three-dimensional structure builds on a multitude of sketches, which consist of prototypes and variations of objects. The formation of these drawings speak volumes about the artists creative stance. Several years ago Christian Schreckenberger built himself a lounger of sorts, which facilitates the perfect posture for drawing. It is there, that he allows himself to be assaulted by a state of total relaxation, unrestricted flow and permeability.
The Artist is shifted into an artificial daydream between absent-mindedness and rigorous concentration. Here, he collects the notions of form which patter down upon him and transfers them through his felt pen.
The countless shapes, pseudo-objects and things which are most difficult to identify, all have their origin in the material world, as well as in the artists intimate experiences. Reminiscences of things which have been experienced, heard and felt. Schreckenberger falls back on personal circumstances and observations, mixing them with universals which have deposited themselves in the collective memory. Structures which grow and thrive not only in the mind of the artist, but in all minds. The origins of forms channelled from his dream state are springs found within the artist himself, as well as springs arising from his surroundings. At the confluence of these two rivers, he finds archetypes. It is a matter regarding universal combinations of form, a kind of stock of original forms which can rarely be seen as a perfect impression. These archetypes are condensations; in one form – one body – they condense different states, different variations, different moments of an object. They are independent of time, space and culture. They merely exist. (…)
More a crystallisation than a materialisation; one might be inclined to call the process of realisation an action, though one would do better to call it an adjustment. Since the form has always existed, forever. It must, however, be refined and undergo a development – in a photographic sense. (…)
These objects do not posses a singular identity or an unambiguous spirit. They are solidified aporia. The length of time in which they are observed is crucial in making a relevant assertion about their nature. Of course, it is also the position – in its widest sense – of the observer, which is decisive for the formulation of a relevant statement. The interpretative elasticity within the work of Christian Schreckenberger may lie within the artists interest in physical theory. His reading of Hawking or Heisenberg surely exerts a certain level of influence on his sculptural practice. A practice which hunts after the evident nature of the object, of uncertainty, ambivalence and blurriness. It is plain to see that the artists sculptural practice is driven by questions of factuality and clarity posed by quantum physics. Then again, questioning the metaphysical world is, per se, the day-to-day-business of an artist. They must live with the vague and unverifiable intuition that the phenomenological field we call „reality“ is not only that which exists, but also, that we are incapable of discerning the myriad of facets, regions and dimensions of a single object. This intuition is shared with poets and philosophers; however, it is also shared with scientists, who are aware of the limits of their exact knowledge.