50:"Spatial intersection" connotes his installations, which form a positing in a given space, while also breaking through it: These spatial structures break in upon the pre-existent space and establish visual axes along their surfaces and edges, which only become visible through the insertion of the elements. The exhibition space becomes the visual space. Felix Schramm usually works with industrially manufactured materials, however, they appear as organic growths in his processes of forming space.
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Felix
Schramm negotiates shifts in various differentiated creative forms: he regards entirety in its recombinable parts, among them axes, rifts, warps, the potential alignment of the viewer's perspective, and, to that effect, points of intersection – in both a physical and allegorical sense. In Felix
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The "Accumulation" group comprises works that unite different aspects of the artist's individual groups of works: Various sculptural techniques of
Schramm evolve into a spatial frame of reference. The freestanding installations can be circumnavigated and read in a dramaturgical sequence. They take
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The group "Multilayer" encompasses collages made out of photographs taken by Felix
Schramm of his three-dimensional installation pieces. The merging of torn photographic material produces two-dimensionally abstracted visual spaces of jagged edges and image planes. "Multilayer" refers to Schramm's
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under Jannis
Kounellis and Walther Nikkels, study visits abroad in Tokyo and the Villa Massimo in Rome followed. Engaging with the relations of space and body has led to different approaches in Felix Schramm's sculptural work. The artist works in groups of works, which he arranges systematically
30:, which the sculptor addresses in different visual forms within his work. His understanding of sculpture takes the dialectics thereof as a point of departure, from which he generates his modes of spatially oriented work (installation / spatial intervention, sculpture, collage).
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Schramm's sculptures and installations the surroundings of the object are seen as part of the space that defines the object. With this, Schramm produces formal systems that derive their structure from the dissolution of (architectural) order.
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The group "Intersection" is composed of his sculptural, three-dimensional work, with which he undertakes positings in space. These are divided into the sub-groups "spatial intersection" and "corporal intersection".
53:"Corporal intersection" involves casts of body parts composed of different materials, which Schramm sometimes sculpts further, or conjoins in doublings or variations.
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installation work and simultaneously functions independently on a visual level as a form of spatial construction.
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82:"Vitamin 3 D new Perspectives in Sculpture and Installation”, Phaidon press Inc. p. 10/268-269, 2009
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91:"Felix Schramm, Soft Corrosion", exhibition catalog, WerkRaum.20 Piepenbrock, Berlin 2006
88:"New Work: Felix Schramm", exhibition catalog, Museum of Modern Art, San Francisco 2007
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After studying sculpture at the
Academie Di Belle Arti Di Firenze in Italy and at the
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85:"Felix Schramm, Savage, Salvage", exhibition catalog, De Vleeshal, Middleburg, 2008
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effect as narrative organisms, which in turn perform a positing within space.
76:"ABSTRAKT //// SKULPTUR", exhibition catalog, ed. Mark Wellmann, Berlin 2011
73:"Felix Schramm, Intersection", Verlag für Moderne Kunst, Nuremberg 2012
79:"2009 A-Z", Palais de Tokyo, Volume 3, #18, p. 126, Paris 2010
22:(born 1970 in Hamburg) is a German artist who lives and works in
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