Alexander Saner
You’ve explored the concept of «dynamic-static» in your sculptures. Could you elaborate on how you balance these seemingly contradictory forces in your work?
The object depends on the subject. The real dynamic part of a static sculpture is the living observer himself. The observer as the dynamic part of a static sculpture. He can mentally activate the frozen movement in the sculpture at any time with his brain. He himself is the spiritual mobile.
Your work often touches on the «No-thing-object» concept. What does this term mean to you, and how does it influence the materials and forms you choose?
We live in a world of overproduction. We produce things day and night that we often don’t know why or what exactly it is. Many nameless things look similar, are made of similar materials, and can be aesthetically beautiful. The «No-thing-object» concept points to this impersonal, nameless thing-overproduction.
With the emerging concept of «Do-it-yourself-Art» gaining traction, how do you see this influencing both aspiring artists and the art community at large? What role do you think professional artists play in this trend?
We live in a time of upheaval: digital progress, Artificial Intelligence are bringing huge changes to our lives and work. What does this mean for me as an artist in the future? The only thing that keeps me as an artist is my imagination and inventiveness. The concept of «Do-it-yourself-Art» means that as an artist I pass on the idea and plan for an artwork, for example an installation. I’m just sending the idea, the client is responsible for the realisation of the work. The work will be created somewhere in the world without my presence by local labor specialists. No unnecessary transport, no flights, no unnecessary waste of transport energy. This is my look in the future.
Before focusing on sculpures, you were active as a cartoonist. How has this background influenced your approach to sculpture, particularly in terms of storytelling and visual expression?
As a cartoonist, I learned to focus on what’s important. There is no place for unimportant things. A whole story in a single drawing must be understood immediately. Limiting yourself to the essentials is also evident in my work. And in my series «Ironic-animals» the former cartoonist becomes visible again.
You often cite the importance of simplicity and clarity in your work. How do these principles manifest in your creative process and the final artworks?
Simplicity and clarity emerge right from the first sketches on a ordinary sheet of paper.
No digital helpers, no artificial intelligence, just a perncil and a piece of paper is enough.
If I create a work that can consist of either seven or five elements, I would always choose five elements. «If nothing can be removed the work is completed.»
You predominantly use steel and wood in your sculptures. What draws you to these materials, and how do they help you convey the thermes of your art?
Without steel there would be no modern civilisation. For example Manhatten without steel – unthinkable. Steel has its own aura, a cool seriousness and high stability. Ideal for free-standing sculptures inside or outside. Fort the «No-thing-object» wall sculptures I chose wood as the main material. It can be easily combined with other materials. Wood has a natural, warm appearance, which also has a positiv effect in interior spaces where it belongs.
Your sculptures are known for their intricate spatial dynamics. Can you discuss how you envision and execute the balance and interaction between the different elements of your sculptures?
At the beginning I only knew what I didn’t want: moving sculptures. Too many components. This voluntary restriction forced me to completely rethink certain ideas. Sculptures like «dynamic-static», «Static» or «Balance» are all not mobiles. But they are not permanent statics either. That depends on the viewer. The viewer of a sculpture plays a crucial role. He can mental activate the specified movement at any time. Or he leaves them static.
You’ve mentioned that «the real dynamic part of a static artwork ist the living observer himself.» How do you design your sculptures to engage and transformt he viewer’s experience?
At my first exhibition of my «dynamic-static» sculptures, a family came visit my exhibition with their little daughter, about five years old. The little girl stood in front oft he «dynamic-static No33» sculpture and spontaneously made the specified U-shaped movement of the ball on this sculpture several times with her right arm. A small child without knowing what was going on did exactly the right thing. I didn’t need any further proof.
How has receiving international awards and recognition influenced your career and artistic direction?
I receive invitations to art exhibitions and art fairs from almost over the world. Global digitalization accelerate this process. All in all, I remain true to my artistic direction.
Are there new concepts or techniques you are eager to explore in your upcoming projects?
Upcoming projects with or without Artificial Intelligence? Thanks to Artificial Intelligence, it is no longer to say exactly which artist can be assigned to which work of art. As an artist, I belong to the last generation for whom this question is not relevant, because all my art was created before Artificial Intelligence. Therefore, I leave my work as it is. The future will look a lot different. Maybe my new concept of “Do-it-yourself-Art” will fit into this new era of art. We will see.