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April 2015
Vol. 34 No. 3

A publication of the
International Sculpture Center
*Read the full article online!
Sculpture and the Rules of the Social Game
by Peter Lodermeyer

Mikado 234_250, 2013.Vertical and horizontal lines, grids, squares, and circles—the vocabulary of Werner Haypeter’s work apparently relies on basic forms of geometric abstraction. This has prompted some critics to label his extensive sculptural output as “concrete art” or “constructivism.” In doing so, however, they ignore the fact that although Hay­peter adopts a tried and tested repertory of Modernist forms, he uses them for a different purpose, thus interpreting them as a means of overcoming a formalistic concept of art. Haypeter’s work cannot be completely understood if we approach it from the vantage point of formal analysis. Rather, we come closer to his intention if we take a good look at what is arguably the most important constant throughout his work—the attention that he gives to space. Space, for Haypeter, is no abstract matter ...see the entire article in the print version of April's Sculpture magazine.

Mikado 234_250, 2013. Acrylic paint, wood spillikins, and acrylic glass, dimensions variable.


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