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Lancette Arts Journal Founded in 2000 |
Art Reviews |
Spring 2002 |
By Alidė Kohlhaas
The art created by Wenzel Ziersch has a way of making the onlooker pause in reflection. His very original art form defies classification at this time, although one might somewhat reluctantly describe it as minimal in form. But, why use labels? Let it suffice that he has found a way to give us a message without hitting us straight in the face. How refreshing in an era when "into the face" is all the rage.
Ziersch, whose pictures are on view at the Goethe Institut Inter Nationes Gallery in Toronto until April 13, has found a Canadian mentor in sculptor Sorel Etrog. He saw his work in a gallery in Munich two years ago. The Canadian master, who is the guest curator for this exhibit, persuaded the Goethe Institut to bring the 37-year-old German's work to this city.
"The work of Wenzel Ziersch has a magic presence of timelessness, wrote Etrog in the Goethe Institut's brochure."I wanted to absorb their intimate atmosphere, the obsessive 'madness' of creating them."
Just what is this intimate atmosphere that Etrog speaks of? The above photograph of one of the pieces by Ziersch may not reveal enough, but like all of his other works it is a kind of manuscript. The artist spends an enormous amount of time carefully writing texts from the Bible onto all kinds of surfaces, including glass and Plexiglas. Most of his works are in black, with the text scratched onto the surface, leaving. . .
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