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A mistrust of the sublime and a desire to free art from existing associations and meanings is at the heart of Georg Herold’s practice.
‘Badedas’ subverts the idea of sculpture as a form that demands a pedestal; Herold instead firmly roots the work to the ground, using aluminium to create a table that recalls the building materials it is made from. The left legs of the table appear to resemble a step ladder, while the piled sticks of aluminium recall a reclining figure about to bathe, yet they could also be a tumbling heap of chopped wood, as if the material is willing itself to move of its own accord.
The unpretentious nature of Herold’s sculpture, which includes a couple of terry cloths to emphasise the act of washing, speaks to his rebellious desire to reject bourgeois posturing, in art and life.
The simple yet elegant silver finish, which complements the purples and greens of the additional objects, suggests that for Herold, aesthetic and physical presence is far more essential than determining a fixed meaning. Herold’s ability to manipulate his materials so they appear to transcend their own limitations is the key to this process; the viewer is left to focus on the physical rather than the hermeneutical.