Kricke developed the idea of sculpture that derived from and consists merely of a line. Kricke turned the line into a poetic symbol of space and time.

This shift from the physical to the simple, elementary and nonetheless ambiguous was radical.

One of the most influential post-war artists in Germany and a pioneer of minimalist sculpture, Norbert Kricke was born in 1922 in Düsseldorf.

My problem is not mass, not figure, but it is space, and it is movement – space and time. …

I want to represent movement. I am trying to give form to the unity of space and time. 

Norbert Kricke, 1954

Norbert Kricke

1922-1984

Line is the form of movement, movement is a form of time, never a limitation of surface,

nor an outline of bodies – always a space-showing phenomenon, an openness.

 

Norbert Kricke, 1977

To lay a trace that doesn’t have to be compared to or remind of anything is characteristic to Norbert Kricke since the early 1950s.

He discovers the line that is no longer engaged to constitute sculptural volumes. Instead the line itself, with its unboundedness, becomes a plastic medium, free from any representational functions or supplementary connotations.

The complexity of Kricke’s sculptures is in no way limited to formal-aesthetic observations. It is space that he is interested in, a dimension in which people’s relationship to the world takes place, a fundamental existential experience of being-in-the-world. In this space – going beyond aesthetic considerations – he recognizes the offer of freedom.

The dynamic of the line is sometimes accentuated by a conscious use of colour. It does not refer to any content through associations, but instead it suggests movement, can accelerate or slow down. It seeks to overcome the material dimension and to emphasize the moment of movement. 

I often use blue when I’d like to put a special emphasis on the spatial

value of an entire sculpture or its part. I’ve never used colour for aesthetic or decorative reasons.

 

Norbert Kricke, 1982

I found out that white and chrome yellow, when shown in space as a line, have the highest motion quality. While lineaments with angles, tending to right angels, require colours of tranquility, heaviness such as brown, black, English-red, grey etc.

 

Norbert Kricke, 1982

Aurel Scheibler

Schöneberger Ufer 71, 10785 Berlin

www.aurelscheibler.com • office@aurelscheibler.com • tel +49 (0)30 25 93 86 07

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