After the recent anthology dedicated to him by the Museo Marca di Catanzaro, Wolfram Ullrich is at his second solo exhibition in an Italian public institution. For the MAC of Lissone the artist has selected a series of reliefs from the Nineties and 2000s that redefine the museum spaces through their perspective incongruity.
By putting our cognitive sphere to the test, Ullrich's works invite us to constantly change our point of view, approaching or retreating, decomposing and recomposing geometric surfaces to be able to unveil the simple - but ingenious - mechanism that obeys and at the same time transgresses. the visual faculties. Freed from the limits that distinguish sculpture from painting, Ullrich usually claims his pictorial training at the Stuttgart Academy, an experience that led him to the "highest degree of objectivity". In fact, his meticulous geometries are, above all, objects capable of avoiding the tautology of materials and the force of gravity.
Ullrich's research - born in Würzburg, Germany, in 1961 - comes to be specified in the mid-eighties with a rational but not merely intellectual system. Later the artist experiments the steel materials and decides to investigate the inconsistencies between reality and appearance; since the nineties his interest is focused on the atmospheric effect of color, an element that enhances the virtuality of the formal construct, increasingly combining the fiction of painting with the physicality of the sculpture. After working systematically on single works, the artist matures a particular preference for the polyptychs, through which he investigates the different morphologies of the same polyhedron.
Sensing that the essence of art is to be pursued in its manual execution even more than in the mental one, Ullrich designs and builds painting (in the sense that it assembles it, part after part). In addition to giving prominence to the "reliefs" of the artist, the exhibition lissonese also includes the recent Orbit, ellipses that punctuate the walls according to unusual objects, artifice that establishes the logical landing of a research now thirty years.