lean, with roughly chiseled features and a prominent forehead. Even when sitting,
he is an energetic presence. His mind is always working, mulling over the right
word or the best exposition, and his body is usually taut, as if it may be called
upon to act at any moment. His eyes, too, are quick and intelligent. “Mesh has
a memory,” he continues in his accented English. “It can be almost organic.”
A geodesic dome provides the skeleton of the sculpture in the main studio space,
but as Kronschläeger adds layers of the warped mesh, the angles and edges are
transmuted into a more ambiguous form. Aluminum mesh is most often used by
artists as a sculptural underpinning, but Kronschläeger emphasizes the material,
and it acts here as an undulating fabric, alternately translucent and opaque. “Light
is very important to the piece,” Kronschläeger states. “It can cause the mesh to
become voluminous.”
Indeed, the sculpture is animated by the complex play of shadow and light on and
through the material. Some passages are swollen as if pregnant, the space defined
by the mesh not merely illuminated, but made substantial, almost corporeal. As
we move around the work, I notice smoke arabesques trailing from
Kronschläeger’s cigarette; like smoke, the mesh bubble unveils the invisible or at
least heightens our awareness of the ethereal.
“I remember an under-graduate assignment,” Kronschläeger says, refilling our
coffee cups. “We were asked to consider a non-art object.” He lights another
“If
else
nothing
no
, at least
hear
w y
d a f
ou ha
e
ve
sexy ne
w
that can be
w words
inser
small-talk
ted into
con
y
versation at
stripe coc
our next pin-
par
Eisenman,
ty.” - P
ktail
eter
‘92
Left, Transmotion, 2004,
Collaborative Project, Mixed
Media, 45’x8’
Above, Liquidsite, 2004, Site-
specific Installation, Mirrored
Plexiglas, Plywood, 48"x43"x16’
cigarette, casts his eyes toward me and says, with a cock of the head and a chuckle, flatbed of an 18-wheeler. For the last six years, he has also taught at the School of
“I chose a dust bunny.” Visual Arts Summer Studio Residency program. His enthusiasm is contagious; I
was not surprised to learn that he is assisted in the studio one or two days a week
The artist’s intellectual and creative excitability border, at times, on the frenetic, by an Argentine photographer, Paulo Rojas, who is remunerated chiefly by the
but this serves Kronschläeger well. Though his art projects come first, his energy opportunity to be a part of Kronschläeger’s enterprise. “Trust the process!,”
and curiosity compelled him to curate group exhibitions in the United States and Kronschläeger declares, just before he springs from the office chair to find some
Europe and to oversee the development and realization of an ambitious images relevant to our discussion.
Portrait by Arthur Nobre
collaborative project, Transmotion, a mobile art installation constructed on the
29 / 96
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