Contrasts enliven art. The interplay between light and shadow, movement and stillness, heaviness and lightness creates both tension and harmony. But bringing these opposites into harmonious coexistence is an art in itself. The sculptor Robert Schad (b.1953), known for his large-format abstract steel sculptures, seems to have mastered this art with ease. This can currently be seen in the exhibition “MOUVEMENTS” at Galerie Friese in Berlin.
The exhibition brings together Schad’s steel sculptures with small-format drawings and smaller sculptures, all sharing a common motif: the line. Whether on paper or in space, the line is the basic element of his artistic language and simultaneously serves as a tool to reveal the contrasts in his works. For these “drawings in space,” Schad uses massive square steel. Contrary to what one might expect, this steel is not bent; instead, the individual elements are welded and the joints are subsequently smoothed. In this way, the sculptor constructs his characteristic, joint-like, dynamic structures.
Schad’s ability to create a tangible spatial dynamic is impressively evident in the sculpture “MONS” in the gallery’s first exhibition room. The intertwined metal looks like a frozen movement of interwoven bodies – a dance of steel, paused for a moment yet capable of continuing at any second.
Each sculpture has its own character. This is also reflected in Schad’s drawings, which seem like a reduction of the sculptural forms to a two-dimensional level. However, Schad emphasizes that “the drawing does not serve the sculpture but is an independent partner on equal footing.” In this way, his drawings and sculptures complement each other and thus always engage in an equal dialogue. The exhibition is complemented by some of these hand drawings in wax crayon on paper. The compilation of these smaller works conveys the feeling of telling a complex story about line, form, and structure.
In the next room, an ensemble of six sculptures displayed on white pedestals is revealed to me. These works enter into a visual dialogue and invite me to explore them from different perspectives in the room. Here, once again, Schad’s skill is evident, as he transforms the hardness and heaviness of massive steel into delicate yet powerful compositions.
The largest work in the exhibition, “LALINE”, is located in the back room of the gallery: a monumental sculpture 183 cm high and over 3 meters long. Despite its size, it seems to integrate effortlessly into the room and conveys an astonishing lightness.
By mastering the challenge of bringing the contrasts of his works into harmonious coexistence, Schad succeeds in transforming the severe hardness and heaviness of solid steel into light, graceful and delicate compositions.
The exhibition “MOUVEMENTS” can be seen at the Galerie Friese in Berlin until August 31, 2024.
