Galerie Thomas presents Günter Haese, the Master of Delicate Metal Objects
The God of Small Things
It is a small miracle that Günter Haese’s objects can resist gravity. In his work, the artist from Kiel explored fragility up to the limits of stability, but he was not just interested in the movement of his spatial graphics, as he called his objects, but in the dissolution of an order that then restores itself. Without the object tipping over. Galerie Thomas is now presenting 25 works by the artist, who passed away two years ago.
A Pioneer of his Time
Even though in its uniqueness Günter Haese’s work found no artistic companions, let alone imitators, he was a pioneer of his time in art-historical terms. His graceful, human-scale objects, whose fragile equilibrium rests on even more delicate feet, are based on the contrast between geometry and materials on the one hand, and instability and a seemingly organic appearance on the other.
Inspired by an Alarm Clock
After the war, Günter Haese, who was born on February 18, 1924, studied in Ewald Mataré’s master class at the Kunstakademie Düsseldorf along with Joseph Beuys, among others. Having trained as a decorative painter, he began creating animal sculptures, and only after several years did he arrive at his unique work by way of monotypes. The spark was an alarm clock that Haese was given, which he took apart. He began laboriously soldering the little steel braids, hooks, springs, and balls with a copper soldering iron and stacking them on top of each other. However, Haese was never a rushed creator; instead, he was an introverted master who approached his works with care.
His success came overnight: Günter Haese had his first solo exhibition at the Ulmer Museum, and his second at MoMA in New York, after the curator at the time saw Haese’s works in Ulm and immediately contacted him. Haese’s works have been exhibited in numerous major museums around the world and are now part of renowned collections.