A beautiful embossed graphics of zero artist In the year of the 8o. Birthday of the internationally renowned zero artist Gunther Uecker appeared an embossing graphic, which is unique in its kind, and to the extent. As entitled the work “Spiral 2010” while engaged in the Uecker born on the 13.3.1930 already previously already frequently titled spiral. Implemented the history of nail reliefs in combination with the largest mass, the Uecker in a graphical work, make this work but a unique artistic event. The spiral, which is confused with the screw frequently in geometry (this but is necessarily a spatial structure in contrast to the spiral) Uecker not least interested in the tradition of Zen, which is close to the artist. This is a Japanese flow of Buddhism. Starting by the theory that you only can help others when you yourself has free, Zen carries also a significant share in the concentration in the Middle, often with the help of meditation.
The Spiral, in their uniform, quiet strength, which both inside, outside, directs, carries a strong symbolism, the Uecker fascinated in this sense refers to both. As well as in the history of art (see the land art artwork by Robert Smithson “spiral jetty”, which was built in the desert of Utah in 1970) in nature (worm) are spirals known manifestations. Also in the implementation of, the “spiral 2010” is only more than managed to call both in the sense of Zen and artistic point of view. The uniform outline of spiral of the thick handmade paper, as also the consistent use of the square format, all formal aesthetic aspects are achieved. The thick, almost stiff, heavy paper is extremely rippled through the quality in combination with moisture during the stamping process. A phenomenon which refers to an expert “The sheet dances”. The large, bulky nails varying to some extent in the length carry in their presence to immense broadcast of the work at. With what force, the 80-year-old artist must have driven the metal into the wood strength and yet incredible precision, to then look to it, to create the artwork for the blind embossing, which then allows the serial extraction of ninety same prints, in the Phatasie of the representational hardly to suggest. No wonder, then, that the 90 copies at the Publisher before the graphics were already sold out. Michael Marius marks