NO DESECHABLE - Ernesto Knörr
21 January - 23 February
Non disposable tensions
Ángel Antonio Rodríguez
Each exhibition by Ernesto Knörr ((Vitoria, 1957) is an invite to surprise, to ironic games and to artistic quality, a tribute to recent history and amalgam of ideas that flow eagerly and rhythmically, towards symbolic beginnings. His belief in sculpture, in what is well done, does not leave indifferent those who know how to look. However, this does not hinder him from amassing always restoring quests in a personal and spontaneous way.
On those statements Knörr, who continues to maintain a reasonable distance between the new generations and the Oteizan discipline, is not letting philosophies or mystics that are anchored in the merely ancestral to be a burden to him. Nor does he need to. He knows how and where he wants to live, with whom and why. And he does so in a humble way, working hard on the air, drawing space each day.
In this way, this Basque sculptor living in Asturias presents in his second exhibition at galería Nuble in Santander, his "non disposable" work that incorporates new vibrations and certain more or less hidden messages. As a statement against the throw-away culture that establish a way of thinking designed to feed the short term needs of industry, politics, society and immediate success, Knörr refuses to leave behind the virtues of lasting things. In the end, it is all about continuing to develop answers and integrating esthetical and functional meanings into the working context in order to make it specific. And it’s also about doing it with an open language, capable of re-interpreting the historic vanguards and their sculptural roots maintaining rich dialogues with the new volumes. Blunt, yet light; almost volatile, but forceful pieces that reveals efficient approach to composition and an inflexible constructive determination, harmonising the tensions between container and content and the visible or invisible visual relations.
As well, Knörr launches a quasi ecological cry. A sentiment of everyday recycling, a net that traps the experiences of memory, moving away from the consumer society in order to not to be consumed. A twilight cry that probably springs from the mountains of the North where the artist spends his days and nights. Image and silence, a duality that seeps in a subtle way in each and all of these works; rigour and fantasy, as the discoursal axis of this new group of shapes and voids. Without dogmas, archetypes or mannerism.