{"id":20797,"date":"2026-09-28T20:51:02","date_gmt":"2026-09-28T18:51:02","guid":{"rendered":"https:\/\/www.af-kulturstiftung.de\/wordpress\/werk-des-quartals-03-2026\/"},"modified":"2026-09-30T17:16:50","modified_gmt":"2026-09-30T15:16:50","slug":"work-of-the-quarter-03-2026","status":"publish","type":"post","link":"https:\/\/www.af-kulturstiftung.de\/wordpress\/en\/work-of-the-quarter-03-2026\/","title":{"rendered":"Work of the Quarter 03.2026"},"content":{"rendered":"
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Andreas Felger, untitled, 2021<\/div>
Oil and acrylic on wood, 57 x 49 x 4 cm \u00a9 AFKS<\/div><\/div><\/div><\/div><\/div><\/div>
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untitled
\n2021
\nOil and acrylic on wood
\n57 x 49 x 4 cm<\/h5>\n<\/div><\/div>
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I imagine that, once the decision had been made to use a basic geometric shape as the underlying form and to ensure the appropriate proportions of the slats, Andreas Felger experimented with the placement of the slats as if they were the hands of a clock, moving the pieces of wood around and varying the composition until the \u2018image\u2019 felt right. It is worth pausing for a moment to consider what \u2018feeling right\u2019 means: An aesthetic tension is created whilst, at the same time, a sense of balance is established. The result is varied but not restless; the individual slats stand out on their own, as it were, like soloists, yet also function as a collective, in relation to one another; their formation stems essentially from finely adjusted angles of inclination, which can take on an almost humanising quality; leaning towards one another, corresponding with one another.<\/p>\n

The strips, which are positioned perpendicular to the vertical lines, have a different character. Although similar in form and colour to those considered so far, they resemble the slats of a fence, and their materiality stands out. Formally, they appear to cross out the vertical lines or the minimally sloping diagonals, counteracting the delicacy of the composition on the level below. This effect is, however, tempered by the fourth layer (including the circular form), comprising two further bars in a predominantly blue-whitish iridescent colour scheme. These are more sharply inclined and are the only ones that cross; they can be interpreted either as closing in on one another or as embracing each other.<\/p>\n

A few further points of context should be added here: a number of the wooden reliefs were created in 2020\/21, that is, in the year in which Andreas Felger responded to the COVID-19 pandemic through his painting. Most of these works were not as sombre as one might perhaps have expected during this period, which was very stressful and restrictive for many. The artist has found a way of approaching the subject that turns it into something positive; Kurt Freitag commented on one example in the Work of the Quarter 04.2020<\/a>. There are many examples in Andreas Felger\u2019s body of work of his engagement with relief, particularly in Art in public space<\/a>. Some of the works demonstrate particularly clearly the artist\u2019s interplay between surface and space, and between image and sculpture. In the Landmarks<\/em><\/a> in M\u00f6ssingen\u2019s urban space, the incorporation of light and shadow is also evident; with appropriate lighting, this effect can also be achieved in the small-scale reliefs displayed indoors.<\/p>\n

Last but not least, the artistic language of the reliefs is quite comparable to Andreas Felger\u2019s works painted in oil or acrylic, which often feature beam-like forms. Hans G\u00fcnter Zehnder commented on an example in Work of the Quarter 04.2024<\/a>. His description \u2013 \u201cAt first glance, one perceives the dense structures as a kind of latticework; one associates them with entanglement; one thinks of a thicket and of penetrating it\u201d \u2013 can also be applied to the interplay and overlapping of the slats. It is fascinating to see how, despite the bulky nature of the wooden slats, an aesthetic space with illusionist effects emerges \u2013 one that always serves as a space for the viewer\u2019s own projections.<\/p>\n

Text by Marvin Altner<\/p>\n<\/div><\/div>

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