Emanuel Röhss

City face sculptures, 2014

Uncategorized

Dimensions Variable


Interested in purchasing this work?

Enquire

Additional Information

Accompanied by a certificate of authenticity.

We offer collectors a range of shipping options including a variety of specialist art couriers.
Please allow four to six weeks for the artwork to arrive after purchase.

Artwork
Description

Emanuel Röhss’s works presented in Image/Object operate at the intersection of sculpture and architecture. The artist appropriates architectonic embellishment from urban milieus, sourcing specifically selected fractions from buildings of topical interest. The works shown here image a range of decorative ornamentations sourced from addresses in the cities of Stockholm and Naples.

Configured as Jesmonite casts, they explore the idea of subjective aesthetics manifest in a design; architecture – a thing with a utility function, yet architectures with a fetishistic level of decoration.

There is a strong emphasis on historicity within these works. If one is to follow Hegelian Aesthetics, architecture represents a carefully constructed surrounding for the presentation of art and sculpture. Röhss’ work has a distinctly self-referential quality that re-contextualizes this specific aesthetic strand. Furthermore, there is a subversion of artistic convention based on the usual archaeological significance demanded to exhibit architectural artifacts.

Functionality, or the lack thereof, is essential to Röhss’ practice. The process of appropriation and exhibition essentially embodies absence of function. The works aims to present this deficiency of functionality as their source material is selected carefully according to the premise of structure serving no manifest practical role as a part of a building. Much like Ruskin’s writings on architecture, Röhss appears to use architecture as a metaphor for life and individual experience, the embellishments may not appear integral to function but they are to meaning.

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.


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.


Emanuel Röhss
on Artuner

Part of the
exhibition

December 8th, 2014 until
February 25th, 2015
Curated by Kirsty Ogg