Emanuel Röhss

Röhss is a multi-disciplinary artist, working through sculpture, painting and installation with a particular focus on site specificity. His practice interrogates and extrapolates the relationship between art and architecture, functionality and aesthetics. There is a parallel trajectory in Röhss’ work, to the Duchampian ready-made, that explores agendas of appropriation and facsimile.

Ultimately, his works embody an exploration of “l’art pour l’art” and its philosophical definition. Emanuel Röhss characterises art with a tendency to nebulousness, in which meaning is dependent upon larger frameworks; i.e. the transmutation of architectural form into a context exclusively concerned with aesthetics. As re-formalised entities sprout in the gallery new relationality is created.

About
the artist

Emanuel Röhss (b. 1985, Gothenburg, Sweden) lives and works in London and elsewhere. He studied at Valand School of Fine Art, Gothenburg, and the National College of Art & Design Dublin and at the Royal College of Arts London.

Röhss is a multi-disciplinary artist, working through sculpture, painting and installation with a particular focus on site specificity. His practice interrogates and extrapolates the relationship between art and architecture, functionality and aesthetics. There is a parallel trajectory in Röhss’ work, to the Duchampian ready-made, that explores agendas of appropriation and facsimile.

In the pantheon of art, architecture being its most functional manifestation, represents man's creative propensity to turn the everyday into the beautiful. Central to Röhss’ practice is an attempt at understanding the development and consequential character of urban localities. In this pursuit he goes about as a flâneur, processing the city both systematically and intuitively, assimilating parts of it and subsequently returning to the elements identified as conspicuously extraneous.

Sculptural works are often configured as casts of architectural decoration, imaging the “real” thing, the building fragment, whilst at the same time detaching it from the source, making it a non-annexed thing, a non-reproduction, but a thing contextualised both by its rationality to a source and an exhibition environment. Röhss’ sculptures have existed in a previous incarnation; however, his interest lays in their potential other meaning, incepted by the expectations of the audience and the altered cohesion of the object/fragment.

Ultimately, his works embody an exploration of “l’art pour l’art” and its philosophical definition. Emanuel Röhss characterises art with a tendency to nebulousness, in which meaning is dependent upon larger frameworks; i.e. the transmutation of architectural form into a context exclusively concerned with aesthetics. As re-formalised entities sprout in the gallery new relationality is created.

Emanuel Röhss
on Artuner