Alexander Paul Kubelka Skulptur Bildhauer Skulptur Marmor Regie

„My sculptures are made of light and shadow, captured in a moment of eternal stony being."

Ease

2022

Bianco Carrara Marble

h=120 cm

Heartbeat I

2022

Carrara Marble

30 x 25 x 25 cm

Light at Home

2022

Marquina Marble

150 x 100 x 94 cm

TRANSFORMED LIGHT 

MATERILIZATION OF LIGHT AND SHADOW

„I understand the sculptures as a stony compass. They are creations of truth and silence. The sculpture of light is a symbol and proof that thoughts themselves are the building material of the future."

TRANSFORMED LIGHT 

The French humanist Paul Virilio invented the term "L'Inertie polaire" for our time. Against this horizon, the artist Alexander Paul Kubelka encounters the here and now. Developed as an exclusive and at the same time touchable part of their environment, the sculptures form the connection of the very real with what lies beneath the surface of our time. In the presence of unique stones, it becomes a tangible and sensual experience that the fast course of things can be calmed down.

 

"Transformed Light" was created during the pandemic. The project is symbolic of the fact that art makes the unthinkable imaginable and the impossible possible. Kubelka mentally "transfers" light, which can be glaringly bright but also heavy and dark, into a solid state. His works embody a new point of reference for their viewer. From this point, it becomes perceptible, space and time are relative.

TISSUE WITH A BROKEN PIECE OF WOOD - Vienna City Center, Competition Finalist 

Denkmal für Männer und Frauen die Opfer der Homosexuellenverfolgung in der NS-Zeit wurden

Material: Covelano Marble, Bronze   h 3,0 m / l 7,7 m / w 3,3 m

TISSUE WITH A BROKEN PIECE OF WOOD is a composition of two contrasting bodies that confront each other in terms of color, form and material as metaphors that have become sculptural and reflect two worlds of thought that diverge in terms of content and ideas.

 

A light-reflecting cloth made of white Covelano marble, which reflects the free spirit of the persecuted, their inner resistance against arbitrary exercise of power, restrictive laws and heteronormative social constraints, and a piece of wood, broken into two parts, which is carefully kept in the white cloth in order to reassemble it into a living whole, form the metaphorical center of the monument.

 

Rearing up overcoming physical and mental limits, the marble seemingly changes its state of aggregation. Its petrified structures yield to the ideal of freedom in the sense of the Mauthausen oath. The stone, dissolving its rigid structures, behaves malleably and softly.

 

Opposite lies a jet-black, sharp-edged broken branch. It stands for the inconceivable destructive reality, brutality and contempt on which the Nazi regime built its tyranny. The unimaginable horror to which the men and women were subjected is tantamount to the annihilation of life and love itself, which is depicted in the enormous fractures of the two charred fragments. They testify to the powerful suppression and destruction of all free and constructive spirits and stand for fear and death.