Wandzeichnung #3; „Everything is essentually possible“; 2001; Tusche auf Wand (Ink on wall); Caren Golden Fine Art, New York
Caren Golden Fine Art
Gerhard Mayer
In delightfully echt – Germanic fashion, this draftsmanartist follows seven rigid, self – imposed rules. He must use an elliptical template, but he’s not allowed to draw a complete ellipse, no rare any lines allowed to touch each other, etc. Otherwise, Mayer can do anything he wants, and the results tend to have an appealing, anarchic fastidiousness. The most impressive, a fifty foot wall work full of scattering arcs, dashes, and spiralling have shapes, could be an explosion in a Slinky factory. Mayer may be working in Sol LeWitt’s shadow, but the sheer idiosyncratic energy of his drawings should make the great delegator nerveous.
The New Yorker, June 18 & 25, 2001
Gerhard Mayer
In delightfully echt – Germanic fashion, this draftsmanartist follows seven rigid, self – imposed rules. He must use an elliptical template, but he’s not allowed to draw a complete ellipse, no rare any lines allowed to touch each other, etc. Otherwise, Mayer can do anything he wants, and the results tend to have an appealing, anarchic fastidiousness. The most impressive, a fifty foot wall work full of scattering arcs, dashes, and spiralling have shapes, could be an explosion in a Slinky factory. Mayer may be working in Sol LeWitt’s shadow, but the sheer idiosyncratic energy of his drawings should make the great delegator nerveous.
The New Yorker, June 18 & 25, 2001