Surreal and Twisted Conceptual Art
on Museperk
Swiss artist Fabian Buergy explores themes of dysfunction and transformation in his surreal and often twisted conceptual art installations and digital works. Buergy often starts with the everyday–an empty room, a child’s swing, a chair–and alters the object or adds a disruptive new element.
Blurring the lines between the real and virtual world
on Beautifulsurface.com
There is a both a quiet and unsettling quality to the work of Swiss based conceptual artist and sculptor, Fabian Bürgy, which is quite beautiful. His body of work consists of sculpture, installation, and digital imaging. It’s provocative in both subject matter and by the means it was created. His work is blurring the lines between the real and virtual world and I think speaks to how far digital art has advanced.
MIISTA: FABIAN BÜRGY
by Ella Hagi
Fabian Bürgy is a multimedia artist with quite the unusual portfolio. His work is evocative, targeting a whole spectrum of emotions. Some of it is appealing by definition – it’s serene, it’s symmetrical. It’s a picture you could hang on your living room wall. But, Bürgy is a man that makes up his own definition of what aesthetics. Creating a pretty art piece isn’t the focus, but concentrate on the right feeling and even the grotesque can become beautiful. His work is rich in juxtaposition, pairing the mundane and surreal. Somehow he makes the unthinkable real and puts in a context where it feels out of place and familiar at once. The feeling his work creates is made up of contrasts too – it’s unnerving, but oddly soothing. That symmetry perhaps.
L’ILLUSION EST UN ART
by Aurélien Poirson-Atlan on apar.tv
C’est comme se retrouver face à un escalier de Penrose en vrai. Comme une illusion d’optique prenant vie. Comme se glisser un instant dans la peau d’Alice. Fabian Bürgy est un artiste suisse qui joue avec les matériaux, les lieux, les attentes. Il joue et se joue. Chaque œuvre nécessite un temps d’adaptation, jamais suffisant. Les illusions dérangent le corps, presque l’oreille interne pourrait-on dire, tandis que la signification dérange notre raison. L’émotion et la raison sont alors chamboulées et ne retrouvent jamais totalement leur équilibre. Une dissonance qui nous pousserait à quitter les lieux le plus vite possible si l’hypnose n’avait déjà opéré. Et l’on comprend mieux alors ce que voulait dire C.K. Chesterton : « le fou est celui qui a tout perdu excepté la raison. 
iheartmyart.com
Picture yourself, standing between the four walls of a pristine white gallery, your feet precariously perched on the edge of a gaping chasm in the concrete floor. Stepping backwards you suddenly encounter a growing pool of black liquid that spills into the room. You head to the door as you are realize that the room is also filling with a noxious cloud of a black smoke. Stumbling into the next room, you find yourself in front of a slide. Pulling yourself to the top of the ladder, you find your excitement dissipating as you realize your pathway is blocked by a concrete wall. Moving on, you jump down from the swing and cross the room to a swing. Disappointingly, you are unable to use it as it has been impounded by a concrete block.
While the experience of this exhibition may suggest that it may pose physical or emotional distress on the viewer, it is in fact the harmless sculptural and conceptual spatial interventions of artist, Fabian Buergy. The true intention of Buergy’s works is to subvert the way we conventionally experience the gallery space and the way we use everyday objects, to gain a better understanding and awareness of how we attribute and imbue space and objects with value.
FRUSTRATING SCULPTURES
on art-scene.tv
Fabian Bürgy, ein Schweizer Künstler der in Bern lebt und arbeitet, hat seine Karriere ursprünglich als Bildhauer begonnen und erst wesentlich später seinen Weg zu graphischem Design und den neuen Medien gefunden. Heute umfasst die künstlerische Praxis Bürgys Skulpturen, Installationen und Digital Imaging. Bezeichnend für seine Arbeiten ist des Öfteren die Vermischung von traditionellem Handwerk mit modernen Elementen aus der Technologie und dem Graphikdesign. In seiner bereits 15 Jahren andauernden künstlerischen Karriere hat Bürgy immer wieder versucht, die Grenzen zwischen Realem und Irrealem, Ästhetik und Symbolik herauszufordern. Metamorphose, beispielsweise, ist ein überaus treffendes Wort um die Arbeiten des Schweizer Künstlers zu beschreiben. Bürgy ist bekannt dafür, mit absolut minimalistischen Mitteln komplexe Gedanken zum Ausdruck zu bringen. Sein neuestes Projekt „Frustrating Sculptures“ spiegelt in jeder Hinsicht diesen Stil des Künstlers wider.
Bei diesem künstlerischen Projekt nimmt Bürgy gewöhnliche Objekte aus dem Alltagsleben und unterzieht die Dinge einer nahezu „zerstörerischen Transformation“. Die Ergebnisse dieses Prozesses sind dann wiederum Skulpturen, die auf übertriebene aber humorvolle Weise die Frustration zum Ausdruck bringen, die sicherlich jeder Mensch in seinem Leben schon einmal erlebt hat. Denn es kommt wohl nicht allzu selten vor, dass wir in unserem Alltag mit Objekten konfrontiert werden, bei denen man nicht umhin kommt anzunehmen, sie wären mit voller Absicht fehlerhaft designed worden, nur um uns zu frustrieren. Dieses Gefühl wird von Fabian Bürgy in seiner Arbeit noch auf die Spitze getrieben. Der Künstler manipuliert Alltagsgegenstände auf solch eine Weise, dass diese Objekte komplett ihre ursprüngliche und beabsichtigte Funktion verlieren. Eine Schaukel, die sich keinen Zentimeter bewegen lässt oder ein Löffel mit einem riesigen Loch in der Mitte – die Frustration kommt in Bürgys Skulpturen wundervoll zum Ausdruck, sie bringen den Betrachter letzten Endes aber doch noch zum Schmunzeln.
Fabian Bürgy, instalaciones violentas de objetos mundanos
by Mónica Careaga Marzo on culturacolectiva.com
La ciudad es una instalación, todo está pensado para situarlo en cuatro paredes inmaculadas: las nubes bajan al pavimento que parece abrirse como el mar con Moisés. Una tinta negra se esparce y abre un hoyo negro en el que ya un remolino se lleva el caos, la desesperación, el individualismo, los rencores y todos los males que habitan el mundo que no se forma en la mente de un creador. Una exploración de la estética intrínseca de momentos mundanos, es lo que hace el artista suizo Fabian Burgy con su obra compuesta por escultura, instalación e imagen digital. Intervenciones conceptuales revisten habitaciones blancas en las que la transformación juega un papel fundamental, pues el artista retoma “objetos” o situaciones cotidianas y las sitúa en una figuración distinta a lo acostumbrado partiendo del rigor de la técnica y en búsqueda de un sentido de comunicación entre la pieza y el diseño.
Fabian Burgy es escultor de profesión y su trabajo, poco a poco, ha ido abarcando los terrenos de la instalación y la intervención, dentro de las que es reconocido por combinar lo mejor de la técnica tradicional con las nuevas tecnologías. Las instalaciones de Burgy parecen ser azarosas; implican, también, una postura desde el diseño: siempre espacios cerrados con piezas blanco y negro, lo importante es rescatar la versatilidad de los materiales con los que se puede construir algo alejado del punto de origen. El artista logra imágenes visualmente poderosas en las que participan la estética minimalista y el simbolismo que desafía los límites entre lo real y lo efímero. En años recientes, Burgy trabaja con imágenes digitales para complementar sus ideas. “La obra de Burgy se caracteriza por cumplir un proceso ligeramente violento y perturbador de la transformación, sustracción y la disfunción de las cosas”.
Sicché il treno della realtà è deragliato
by Fabio Guin
Fabian Bürgy è svizzero, è nato nel 1980 ed attualmente vive a Berlino. Con una base dascultore professionista, ora si dedica alla produzione indipendente di immagini digitali einstallazioni ambientali.

Essere fuori luogo.
Sicuramente i lavori di Fabian Bürgy dànno l'idea di qualcosa che non dovrebbe esserci. Qualcosa che sì, ha diritto di esistere, ma non nel posto dove Fabian lo colloca. A volte non si coglie l'esistenza reale o meno delle situazioni che egli crea, tanto è alta la qualità delle post produzioni digitali. E questo non ci aiuta. La prima volta che ho visto i suoi lavori ho pensato solo: "eeeeeh?". Niente di più. Poi ho cercato di ingrandire più che potevo l'immagine sul monitor, e non pago ho avvicinato il naso finché non vedevo solo che pixel.

Sicché il treno della realtà è deragliato.
E meno male. Siamo così stanchi della realtà da avere creato una realtà immaginaria più vera della realtà stessa. Almeno ci rimane lo stordimento della botta. Almeno ci si illude che qualcosa di vero ci sia nella quotidiana illusione. Almeno qui ti dicono che le situazioni di fronte agli occhi sono in realtà frutto di un'illusione ben fatta.

Dunque queste situazioni non esistono.
Difficile dirlo. Di sicuro ne esiste la rappresentazione. Di sicuro dei cuscini di cemento appoggiatti tra muro e pavimento non possono che pesare nel corpo e nella mente di chi osserva. Di sicuro quei segni di pneumatici che vanno da un lato all'altro della stanza, passando attraverso i muri, instintivamente inducono a portare le mani alle orecchie storcendo il naso. Probabilmente quella voragine nera nel pavimento porta inevitabilmente a spostarsi di qualche passo indietro.

Cos'è vero?

Les irréalités de Fabian Bürgy
by Julie Baquet on artandfacts.fr
A la frontière entre le réel et l’irréel, l’artiste suisse Fabian Bürgy joue avec l’illusion. Son travail est un mélange habile entre sculpture, installation, et image numérique. Dès lors, il est difficile de savoir le vrai du faux. Quelle est la sculpture ? Quelle est l’image modifiée ? Fabian Bürgy nous invite ainsi à plonger dans un trou noir. Son art, complètement conceptuel, s’inspire d’objets banals repensés en processus inquiétants de transformation. Une esthétique prédominante minimaliste et épurée sert également à la métamorphose. Une atmosphère aseptisée qui accentue l’impression angoissante des œuvres.
Spikes par Fabian Bürgy
by Rémy.N on la-cremerie.fr
Fabian Bürgy est un artiste pluridisciplinaire suisse qui pratique autant l’art du plasticien, du sculpteur et de l’imagerie numérique. Il réalise des installations surprenantes qui questionnent l’esthétique des objets en détournant ceux-ci et en les important au sein de ses œuvres. Vous n’avez pas fini d’entendre parler de cet artiste sur La Crèmerie tant il nous impressionne, aujourd’hui j’ai décidé de vous faire découvrir l’une de ses œuvres : Spikes. Cette installation monochrome est visuellement très efficace et précise, c’est un univers symbolique qui questionne et joue avec les relations spatiales, la symétrie et l’ordre. Spikes et ses piques violemment tournés vers le spectateur crée une certaine tension et une sensation de menace et d’inquiétude. Magnifique.
Arbeiten des Künstlers Fabian Bürgy
on Artisanmagazine
Der in der Schweiz lebende und arbeitende Künstler Fabian Bürgy überrascht, fasziniert und inspiriert mit seinen Raumskulpturen. Seine Arbeiten sind nicht bloß Skulpturen die an jedem Standort funktionieren können, sondern sie agieren mit dem Raum der sie umgibt und so sind seine Arbeiten vielmehr Installationen. Er begann seine Laufbahn als Bildhauer und bildete sich als Grafik Designer mit neuen Technologien weiter. Dies ist ebenfalls in seinen Arbeiten zu bemerken. Er verbindet Handwerkskunst mit neuen Medien und erschafft so seine einzigartigen Werke. Mit seinen Arbeiten spielt er mit der Wahrnehmung von Realem und Unrealem, Ästhetischem und Symbolischem.

Arte, arquitetura e design juntos no trabalho de Fabian Bürgy
on arteref.com Brazil

O artista suiço Fabian Bürgy realiza em seu trabalho uma mistura de ilusão, transformação e disfunção de objetos e elementos arquitetônicos ou de uso cotidiano. Seu trabalho por vezes é gráfico, por vezes é fotográfico e por vezes é tridimensional, mas sempre trazendo experiências visuais e poéticas que variam de acordo com o trabalho. Além disso, o trabalho pode ser ou não conceitual, isso vai da forma como você se põe a olhar para ele. O interessante de seu trabalho, assim como no trabalho de Rómulo Celdrán (que foi postado na última semana), é poder entrar em contato com outros meios de ver espaços/objetos comuns para nossos olhares, as vezes tirando a função desse lugar/objeto.

FABIAN BÜRGY SKIRTS THE THIN LINE BETWEEN REAL AND UNREAL
by Mareike Muller on lostateminor.com

‘True contemporary art has to reflect periodic phenomenons and should never be afraid to use the technical tools of its time’. That’s what Swiss conceptual artist and sculptor Fabian Bürgy once said and still practices. His extraordinary digital creations really shift between real and unreal. For him, in this over visualized world, it’s the powerful images that are truly intimidating. Bürgy uses all kinds of things, like belts, dog tails and nails, to create his ‘slightly violent and disturbing process of transformation, misplacement and dysfunction of things’.

Fabian Bürgy – Artist of the week
by Sophie Carter on sophie-carter.com

So I came across this artist on Saatchi Online Facebook page. Seriously, if anyone is the bit interested in art or upcoming new artists I strongly suggest you follow and like Saatchi Online. So back to this artist, Fabian Bürgy. I was drawn to an image which was posted by Saatchi. The image itself depicts the object of a black cloud. With Bürgy his medium consists of sculpture, digital media and graphics, and so when you look at images of Bürgy’s work your left reeling, if the piece is a sculpture or a digital creation, or both. I find myself getting completely lost in Bürgy’s work and utterly confused at the same time. To shed some light on the artist work here is a quote I have taken from an interview on Bürgy’s website. “True contemporary art has to reflect periodic phenomenon’s and should never be afraid to use the technical tools of its time. By combining the entire range of the historical tools of artistic expression, from sculpting to digital art, I am enabling myself to work without any technical constraints. And due to my skills I manage to create it almost entirely by myself.For some years now, the distinction between virtual and real is fading massively anyway – and this throughout all aspects of society, technology and communication. Would you say the Internet does not exist because it’s not tangible? Or a printed text is not real because you only feel the paper when you touch it? This is really my point and this is where art has an important role in my understanding.” Fabian Bürgy. So there you have it, my artist of the week, an artist creating weird and wonderful pieces. Do check out his site.



L’arte è idea o realizzazione?
by Aurora Alma Bartiromo on collater.al

L’arte è idea o realizzazione? Con il sempre più massiccio utilizzo delle nuove tecnologie, delle simulazioni digitali e della post-produzione sta diventando sempre più difficile discernere cosa èreale da cosa non lo è. Fabian Bürgy prova a darci la sua soluzione Con le sue opere il concetto stesso di “reale” viene messo in discussione. Le sue stanze bianche, le sue installazioni sono virtuali, create digitalmente con programmi di grafica. Al tempo stesso sappiamo che alcune di esse, o forse tutte, o forse nessuna, sono anche state riprodotte nel mondo analogico. Ma il nocciolo della questione è che secondo Fabian non importa. Non importa che qualcosa sia stato creato fisicamente quello che conta è l’idea. L’idea buona e giusta, l’idea che apre le porte delle gallerie d’arte solo per poi chiuderle con più violenza e mostrare che le mura bianche sono semplici da ricreare digitalmente e che potenzialmente ognuno può avere le sue per mostrare agli altri quello che ha in testa. E’ riappropriazione. E’ quasi l’idea più lontana di sempre dalla street art ed allo stesso tempo è quasi street art.

Is art about an idea or the realization? With the increasing use of new technologies, digital simulation and post-production it’s becoming more and more difficult to tell what is real and what is not. Fabian Bürgy tries to give us his answer. With his new work, the concept of “real” itself is put to question.
Its white rooms and facilities are virtual, digitally created with graphics programs. Yet we also know that some of them, or perhaps all, or perhaps none, have also been reproduced in the “real” world.
But according to Fabian this is missing the point: it does not matter if something has been physically created. What matters is the idea. The idea provides the integrity – white walls are just that until the idea, and the idea is the art.

Fabian Bürgy Art installations- Puffy Clouds and Dog Tails Through Walls
The Swiss based sculptor Fabian Bürgy accomplished these interesting multiple medium art installations through an unfussy approach. His work in empty rooms, which is a combination of sculpture, installation and digital imaging, opens up the appealing things through arbitrary combats of objects, materials and misplaced situations and is sure to capture attention. Bürgy takes specific thoughts and develops conflicts with precise and simple means. Moreover, he has done these things through photo manipulations, digital imaging, installations and sculptures.

The Frustrating Sculptures of Fabian Bürgy
by John Farrier on neatorama.com

Do you ever feel like parts of your life were intentionally designed to go wrong? Fabian Bürgy knows your pain. He's a Swiss artist who lives in Bern. Bürgy takes ordinary objects andsubjects them to a "slightly violent and disturbing process of transformation, misplacement and dysfunction of things." The results are exaggerated expressions of the frustration that we experience.


Questions about the essence
by ozartsetc.com

Fabian Bürgy has the sens of concept. This Swiss artist born in 1980 is, indeed, able to create surprising meanings hijacking daily objects or importing the unlikely and unexpected into his installations. Combining the taste for the matter and the forms of the sculpture with the precision and the spatial sets of the digital medias, he develops a symbolic world where the meeting of different, and sometimes antinomic, dimensions lead to a physical tension and a feeling of imminent threat. A practice which questions about the essence as the foundation of the perceptions, and thus of any certainty.

Think Tank Gallery LA
Interview by Jacob Patterson

I had the opportunity to interview Swiss conceptual artist and sculptor Fabian Bürgy, who is currently in residence in Berlin. The interview challenged some of my notions of what art means to a contemporary society, and my pointed questions met impacting answers. Conceptual work has never been so convincing or tangible.
March 2013
Jacob Patterson: You describe your work as playful, yet there are few artists who create more impacting and violent works. What is it about these symbols and images that you find to be playful?
Fabian Bürgy: I describe my work as playful – but also as a “slightly violent and disturbing process of transformation, misplacement and dysfunction of things”. You know, I have the mental freedom to do what I like and what I am interested in - that gives me the liberty to playfully conceive artistic ideas without pressure. As a result I create sometimes funny and sometimes rather aggressive artworks.
My goal is to give birth to my ideas and to create solid, unseen and therefore honest and hopefully relevant contemporary art.
JP: You began your career as a sculptor before moving into this place where you now produce images graphically or create within the spectrum of new media; how long did you sculpt before finding these methods, and why the transition?
FB: In 1995 I started sculpting professional and did it for 8 years. Although fascinated by stone and plaster, I somehow always felt that there was too much limitation in the medium. There’s no motion, no 4th dimension and plenty of physical constraints – given facts, which unfortunately inhibit the range of contemporary creative expression. Stone is eternal though, something unusual in our contemporary world and a fascinating characteristic.
So I moved towards digital media, imaging and graphics about 12 years ago. Opposite to sculpting, the new technologies offer an amazing potential when it comes to creating ideas and visualizing them. On the other hand, the medium also lacks in some aspects - mostly because of the endless possibilities.
How long did it take for me to find the method? I would say it took me all my life! I never perceived my path (from sculpting towards digital art and back again) as a transition onto something else. I am placing my work and myself exactly in between. It’s the coupling of my different experiences that creates the momentum.
JP: Your digital previews and post productions are impeccably well-made, with the obvious benefit that you can pump out much work within a similar theme and in a similar amount of time, but it is so well-done that it's hard to tell what has really been created and what hasn't. At fabianbuergy.com, for example, how much of the work is tangible?
FB: It has all been created! The idea of my work is to question given situations by provoking seamless shifts between real and unreal using the liberty to use whatever medium is appropriate – this allows me to lift the reality off the rails. In my opinion, this is the best approach to my work, conceptually. True contemporary art has to reflect periodic phenomenon’s and should never be afraid to use the technical tools of its time. By combining the entire range of the historical tools of artistic expression, from sculpting to digital art, I am enabling myself to work without any technical constraints. And due to my skills I manage to create it almost entirely by myself.
For some years now, the distinction between virtual and real is fading massively anyway - and this throughout all aspects of society, technology and communication. Would you say the Internet does not exist because it’s not tangible? Or a printed text is not real because you only feel the paper when you touch it? This is really my point and this is where art has an important role in my understanding.
I say: It basically doesn't matter anymore if something is created physically. The primary condition is that an idea is good and honest. In my case the artistic ideas often work equally well on paper and as a real installation or sculpture. Each implementation has its advantages.
JP: In a style that could equally be envied by both the sculptural Surrealists and heaviest-handed of Minimalists, your work often finds the point between known objects and a mysterious and imposing alternate reality. How do you find the point at which to stop to maintain maximum impact?
FB: When I work on a project I combine my knowledge of classical sculpting with the experience from the design and advertising industry. I don’t know how to locate the alternate reality. Maybe the key is simply to find fascination in confronting opposing forces in combination with a conceptual reduction and the craft. This is probably how I achieve this explosive mix where magic happens.
JP: Simplicity and accessibility is often more difficult to reach than complexity. Your work is so accessible it is almost intimidating, is this something you seek with each work?
FB: There's a good amount of training in the ability to reduce thoughts, create conceptual links and manage to drive creative output into one particular direction. But I am not sure how you can learn that – from my experience I would say: Once you got that path you grow. It remains a painful process though.
The fact that you consider my work accessible and intimidating probably shows that it is coming from an utmost honest spot of my human brain. I am not seeking to create any particular impression or emotion with my projects. But I know that there are a few very profound conditions in human nature, for example fear and fascination, which everybody happens to have. Some of them I probably just manage to express.

JP: Would you like to create all of these pieces in the material world or do they exist with more strength in conceptual formats?
FB: My aim is to create each and every project in both worlds. Material world or not is less important. In the case of most projects, the conceptual strength will remain exactly the same and the spectators will experience just a minimal change in their mental perception. Of course there is, in a certain way, a big difference, but I simply believe that powerful images are as much intimidating as powerful installations and vice versa. In an over visualized world anyway.
As an artist I am obviously looking for galleries, curators and clients that are willing to fund exhibitions, and the actual realization of those artworks that are big scale or technically challenging installations.

JP: What are you doing now and what projects are in your future?
FB: At the moment I am attending an Art Residency in Berlin until summer. This allows me to concentrate on the development of my artistic language. Besides that, I work as an Independent Digital Creative. There are many projects in the pipeline, some are disturbing installations and some are powerful visual ideas. I think the best is yet to come.
Thank you for the interview.





Think Tank Gallery LA
Interview by Jacob Patterson

I had the opportunity to interview Swiss conceptual artist and sculptor Fabian Bürgy, who is currently in residence in Berlin. The interview challenged some of my notions of what art means to a contemporary society, and my pointed questions met impacting answers. Conceptual work has never been so convincing or tangible.
March 2013
Jacob Patterson: You describe your work as playful, yet there are few artists who create more impacting and violent works. What is it about these symbols and images that you find to be playful?
Fabian Bürgy: I describe my work as playful – but also as a “slightly violent and disturbing process of transformation, misplacement and dysfunction of things”. You know, I have the mental freedom to do what I like and what I am interested in - that gives me the liberty to playfully conceive artistic ideas without pressure. As a result I create sometimes funny and sometimes rather aggressive artworks.
My goal is to give birth to my ideas and to create solid, unseen and therefore honest and hopefully relevant contemporary art.
JP: You began your career as a sculptor before moving into this place where you now produce images graphically or create within the spectrum of new media; how long did you sculpt before finding these methods, and why the transition?
FB: In 1995 I started sculpting professional and did it for 8 years. Although fascinated by stone and plaster, I somehow always felt that there was too much limitation in the medium. There’s no motion, no 4th dimension and plenty of physical constraints – given facts, which unfortunately inhibit the range of contemporary creative expression. Stone is eternal though, something unusual in our contemporary world and a fascinating characteristic.
So I moved towards digital media, imaging and graphics about 12 years ago. Opposite to sculpting, the new technologies offer an amazing potential when it comes to creating ideas and visualizing them. On the other hand, the medium also lacks in some aspects - mostly because of the endless possibilities.
How long did it take for me to find the method? I would say it took me all my life! I never perceived my path (from sculpting towards digital art and back again) as a transition onto something else. I am placing my work and myself exactly in between. It’s the coupling of my different experiences that creates the momentum.
JP: Your digital previews and post productions are impeccably well-made, with the obvious benefit that you can pump out much work within a similar theme and in a similar amount of time, but it is so well-done that it's hard to tell what has really been created and what hasn't. At fabianbuergy.com, for example, how much of the work is tangible?
FB: It has all been created! The idea of my work is to question given situations by provoking seamless shifts between real and unreal using the liberty to use whatever medium is appropriate – this allows me to lift the reality off the rails. In my opinion, this is the best approach to my work, conceptually. True contemporary art has to reflect periodic phenomenon’s and should never be afraid to use the technical tools of its time. By combining the entire range of the historical tools of artistic expression, from sculpting to digital art, I am enabling myself to work without any technical constraints. And due to my skills I manage to create it almost entirely by myself.
For some years now, the distinction between virtual and real is fading massively anyway - and this throughout all aspects of society, technology and communication. Would you say the Internet does not exist because it’s not tangible? Or a printed text is not real because you only feel the paper when you touch it? This is really my point and this is where art has an important role in my understanding.
I say: It basically doesn't matter anymore if something is created physically. The primary condition is that an idea is good and honest. In my case the artistic ideas often work equally well on paper and as a real installation or sculpture. Each implementation has its advantages.
JP: In a style that could equally be envied by both the sculptural Surrealists and heaviest-handed of Minimalists, your work often finds the point between known objects and a mysterious and imposing alternate reality. How do you find the point at which to stop to maintain maximum impact?
FB: When I work on a project I combine my knowledge of classical sculpting with the experience from the design and advertising industry. I don’t know how to locate the alternate reality. Maybe the key is simply to find fascination in confronting opposing forces in combination with a conceptual reduction and the craft. This is probably how I achieve this explosive mix where magic happens.
JP: Simplicity and accessibility is often more difficult to reach than complexity. Your work is so accessible it is almost intimidating, is this something you seek with each work?
FB: There's a good amount of training in the ability to reduce thoughts, create conceptual links and manage to drive creative output into one particular direction. But I am not sure how you can learn that – from my experience I would say: Once you got that path you grow. It remains a painful process though.
The fact that you consider my work accessible and intimidating probably shows that it is coming from an utmost honest spot of my human brain. I am not seeking to create any particular impression or emotion with my projects. But I know that there are a few very profound conditions in human nature, for example fear and fascination, which everybody happens to have. Some of them I probably just manage to express.

JP: Would you like to create all of these pieces in the material world or do they exist with more strength in conceptual formats?
FB: My aim is to create each and every project in both worlds. Material world or not is less important. In the case of most projects, the conceptual strength will remain exactly the same and the spectators will experience just a minimal change in their mental perception. Of course there is, in a certain way, a big difference, but I simply believe that powerful images are as much intimidating as powerful installations and vice versa. In an over visualized world anyway.
As an artist I am obviously looking for galleries, curators and clients that are willing to fund exhibitions, and the actual realization of those artworks that are big scale or technically challenging installations.

JP: What are you doing now and what projects are in your future?
FB: At the moment I am attending an Art Residency in Berlin until summer. This allows me to concentrate on the development of my artistic language. Besides that, I work as an Independent Digital Creative. There are many projects in the pipeline, some are disturbing installations and some are powerful visual ideas. I think the best is yet to come.
Thank you for the interview.
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