Taxonomic Mirabilia – On Volker Saul’s graphic vocabulary | Harald Uhr | Translation by Ayken-Konstanze Spura

No matter how abstract an image is, the unsuspecting observer can, even must whisper: “This reminds me of…!” to their accompaniment. No-one can deny them this. Moreover no-one can decline the legitimacy of such a comment. In fact, it would prove nearly impossible to find anything on this earth, which cannot be placed into some kind of relationship to something else. This is particularly so for works of art. After all, art itself consistently seeks points of reference outside of its own realm, but also gladly ones within its own metier. Furthermore, art benefits from ... [ read more ]

 

Eye Exam | Monster's Ball | Jason Foumberg | published in: Newcity Chicago, 2007-07-17

A veritable pantheon of deformities is assembled in a quiet white room on the top floor of a warehouse. These are Volker Saul’s disfigured figures, standing thirteen feet tall and half-mangled in a display of suggestively grotesque pageantry. To come off the deserted and shadeless industrial side streets of Chicago’s Garfield Park and into the clean, serene gallery is like discovering the tomb site or hidden temple of some Egyptian king long since resurrected or raided—all that remains are the wall paintings of once fearsome figures now just mere outlines of ... [ read more ]

 

Disturbing Factor Megalography or the Transfer of the Non-Definite | Ulrike Jagla-Blankenburg
in Conversation with Volker Saul on the Theme of Wall Painting and Drawing

UJB: Volker, in the last few years you have been working exclusivelyon three complexes of work: wall objects, drawings and wall painting. How did you come to the decision to present only wall painting in Aachen’s Raum für Kunst?

VS: I took up wall painting again only two years ago. I present it in Aachen because, amongst other things, in my exhibitions over the past months it has developed into a topical series. This goes for Nijmegen („Paraplufabriek Nijmegen“) as well as for my presentations in the Rheinisches LandesMuseum Bonn, and in the Galerie Gabriele Rivet in Köln. ... [ read more ]

 

Volker Saul | Dr. Michael Krajewski, Köln, June 2007

Volker Saul’s wall compositions and paper works give the impression of graphic signals, with a formal reduction that makes them all the more associative. Lines of identical width circle terrains, close off surfaces, come together to shape heterogeneous structures whose narrative content cannot be readily decoded and which therefore set the gears of the viewer’s imagination in motion. Our visual habits, trained in the mainstream aesthetic we encounter everywhere from advertising to comic strips, unwittingly try to infer meaning into Saul’s graphic elements ... [ read more ]