Martin Walde

The concept of serial production is never very far off when Martin Walde develops his objects. An open-ended usability and the rejection of industrial structures are a part of his artistic strategy. Walde takes this course of action with clarity and precision; he researches, invents and develops. His objects are never just the result of slap dash inspiration. They undergo a creative process over a considerable length of time, until they eventually end up in their exact positions, poised between the artwork and the well-engineered product.

Thus Ursuline pupils, labouring for days on end, sewed pieces of loden together into curious shapes. The determination of their utility remained unclear. Woobie, Woobie, 1991-2000, was the name Martin Walde gave to these fabric objects, which were handed to visitors during the opening of the exhibition. Whether they were to be used, in their countless variations, as headgear or protection for the hands, was left up to the audience: no specific category of usage was prescribed. The attempts on the part of the audience to find possible uses and the ensuing conversations constituted a central core of Walde's work.

Apart from Woobie, Woobie, interior space sails (Siamese Shadow, 1998-2000) made up the other elements of the presentation. These objects, derived from the principles of kite construction, were initially conceived as sunshields and protection against the wind. Transported to interior spaces, they showed up their sculptural qualities and their pragmatic uses as room dividers and room images.

N.O.F.F. #4 (Nature's Flexible Facsimile, 1994-2000) is an item from among the group of works named Hallucigenia. A transparent object of a light blue colourmoves about, swimming in a pool. Upon being touched it starts to sink, disappearing underneath the water.