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The Desparate Kingdom of Love
»Flurin Bisigs künstlerischer Ansatz ist der eines Suchenden. Mit eindrücklicher Offenheit stellt er sich dem Abenteuer, das mit einem Zeichenstift auf Papier beginnt, sich dann in Bricollagen aus Atelierwerkstoffen manifestiert, aber auch in Holz, Blech und sogar Marmor Form findet. Gleichzeitig offenbaren sich dem schweifenden Blick des aufmerksamen Beobachters interessante skulpturale Momente in der Umgebung des Künstlers. Sie sind Echo auf seine eigene erkes oder einem Gedicht gleich. Vielleicht nähert man sich dem Werk von Flurin Bisig besser von außen als von innen? Formen ergeben sich aus der
(Text)
The Desparate Kingdom of Love
»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 sculph 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.« Stephan Kunz
