Grid As Grid Can

In Hansjörg Schneider's work, paper plays a central role in every respect. Since the beginning of 2022, his partly miniature, partly large-format cut and paste works (cut & paste) have been moving from the status of a flat relief into three-dimensional space, where they are consistently expanding. Whether sculpture, object, fold, model, sketch – deliberately leaving an allocation open allows the experimental, open-ended handling of the material. Its constructive strength proves to be enormously flexible and stable.

 

This opens up interdisciplinary intersections between fine arts and architecture, but also between structural theory, materials research, simulation and modelling. The imagined scalability from the handy model to urban space establishes a universal set of instruments with which the relevance of art in the urban context can be renegotiated.

 

Despite all genuine possible uses, these paper objects remain primarily autonomous reflections on surface and space. The openwork structures spin into free space, enclosing a body of air. The geometric compactness of the objects stands in almost indissoluble contrast to their fragility and lightness.