Figural signs between fantasy and reality

By Fritz Jacobi

Transformation is the central leitmotif in Menno Fahl’s oeuvre. Rooted equally
in the Romantic and the Expressionist tradition, he sets his sights on shaping
his images to tear down the boundaries of human or animal creatures’ organic
bodies, heightening these and pushing them into the realm of the bizarre or
grotesque. He seeks to discover archaic primal forces, explore unfettered formal
possibilities and transpose dreamlike visions – always in conjunction with
a pinch of humour and artistic ambition that targets the constructional. Dabs
of paint that flow out into formless shapes, along with terse found objects
in wood, metal or fabric constitute the simplest conceivable triggers for his
burlesque yet pared-down creations, which perpetually track down the changes
that lie within them.

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The world is the world as we see it, it is a real-life experience

By Uwe Haupenthal

It is the conception of the assemblage
which defines Menno Fahls sculptures and
largely renounces the reproduction of perceived,
natural reality in the process. Heterogenous
shapes create an autonomous
entity. The woods used show clear signs of
wear and tear and are left in their original
condition. The various parts constitute a
rather unwieldy configuration, adapted to
the necessities of sculpting, and take a subordinate
role to structural design. The composition
and execution focus on innovation
and spontaneity in equal measure. Sculpture
in no way detaches itself from a completed,
single result. Rather it defines itself
as an open sculptural

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