Publisher's Synopsis
Flurin Bisig approaches art as someone who is searching. With impressive openness, he yields to the adventure that begins with a pencil on paper, an adventure that manifests itself as bricolage constructed with studio materials as well as works that are made of wood, sheet metal, and even marble. For an attentive observer, interesting sculptural elements in the artist' s surroundings are revealed to his wandering gaze, echoing his own work while offering new impulses. The juxtaposition of these activities in Bisig' s work contributes to much more than a mere differentiation between sculptural possibilities. Instead of viewing his work as a perpetuation of the artistic discourse of modernity, from the onset he has seen it as both a reaction to the world in which he lives and an intensification of it- he prefers to see his works on par with a historical rock album, a passage of a philosophical work, or a poem. Perhaps it would be better to approach his work from the outside rather than from the inside? The forms arise from a situation, from an experience, and are not derived from rules that are intrinsic to art. Accordingly, the works he has created to date seem quite diverse in terms of form, material, and execution. The connections between them stem from Bisig' s attitude toward the world and not from an indispensable ambition to create art. His sculptures are his kind of expression that feeds from various sources and can take on various forms, giving free rein to his own experiences- and those of viewers as well. The path to these works is anything but straightforward.
