The sculpture’s origin lies in the manifestation of a symbol of power. The monument, the pedestal, and the rows of seats stipulate a code of behavior. Dimensions, placement, and material have the effect of traffic signs, meaning that they force the viewer into a ritual. A sculpture always exists in connection with the viewer’s behavior. This aspect has consequences for the construction, presentation, and existence of a sculpture. I call my sculptures emblematic sculptures because material, paint, color, form, and dynamic are employed as signs. The emblematic sculptures are conceived as building blocks that elude any lasting presentation and thus refuse monumentalization. The emblematic sculpture exists as a complex of signs and involves the viewer by means of a forced ritual. The building-block character makes responses and changes of site possible. My emblematic sculptures are backdrop-like constructions, orchestrated objects that resemble stages and installation parades at the same time, in which the viewer simultaneously becomes an actor by being assigned a clear space of motion. The choreography of forms and the ornamentally composed space extend into the real social space.
Suse Weber lives and works in Berlin
Galerie Barbara Weiss, Berlin
Galerie Gebr. Lehmann, Dresden
Base-Alpha Gallery, Antwerpen