The Deconstruction of the real World
The purpose of art isn’t that of reproducing reality, but rather to create a reality of the same intensity. Alberto Giacometti
In Wolfgang Scholz’ work we find a personal vision of the emotions of a real world, which follows from a variety of formal-expressive statements which in turn are the result of the use of and interpretation of real materials. His decorporalized representations of beings is a result of the palette he uses charged with much material (paint and other) from which figures emerge modified by the constant action of reworking each piece, until a sculptural- type figuration is created. In the end the original human presence is only suggested.
The images surge with much vigor on two-tone surfaces of strong warm colors, in which this peculiar way of conceiving the human figure is brought to the center of our attention; not, however, as an academic resource, but as an exercise of deconstructing shapes to achieve exclusively a pictorial impact.
His formal method of constructing uses the superimposition of different materials to that of the paint, such as collage. Paper is used as a source for something transparent and at the same time gives texture, adding material weight to the surfaces. He then cancels and ads with broad and frequent, spontaneous brush strokes, constantly juxtaposing abstract and figurative elements. In this way he creates, in an intuitive mode color stains upon which figures contrast. Each painting activates the observer’s intuitive ability to discover symbols, visual metaphors or personal mythologies.
The works are charged of an expressive intensity that escapes chaos, and in which we find the evidence of formal equilibrium. The sense of timelessness in his work is due to the human character, which is the place from where he begins. This in turn serves as a basis for the formal search to starts, which come into being by the way in which he dramatically deforms the existing reality.
This is how we can say that the work of Wolfgang Scholz transmits us an intensive and tragic vision of reality: by deforming the color of the shapes in a constant process of experimenting; a work that has no extra rhetoric and that activates his possibilities to communicate in different contexts with an emotional and expressive character.
Rafael Alfonso Pérez y Pérez
Subdirector del Museo Arzobispado, Mexico City
20.5.2008