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Florian Pumhösl’s latest body of work consists of marks—straight or curved lines and dots of varying sizes—on smooth panels of cast plaster. The marks are of reddish ocher, and on closer inspection, one can see that they are hand-engraved into the plaster. The carving of these lines is fragile, their compositions precise. However, these lines are not smooth. When viewed up-close, one notices rough edges of these finely etched lines, indicating the inherently forceful nature of the act of cutting into a physical surface. The incisions cluster and disperse, they are springy. Yet, one can sense the orientation of these marks is horizontal, from left to right, and suggests temporal progression. They imply an affinity with musical scores.
Each of these plaster pieces is based on a red chalk drawing on paper. These drawings were inspired by the graphic scores of composer Roman Haubenstock-Ramati (1919–1994), an influential figure in Vienna during the 1970s and 80s, whose works were…
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Press Release
Florian Pumhösl’s latest body of work consists of marks—straight or curved lines and dots of varying sizes—on smooth panels of cast plaster. The marks are of reddish ocher, and on closer inspection, one can see that they are hand-engraved into the plaster. The carving of these lines is fragile, their compositions precise. However, these lines are not smooth. When viewed up-close, one notices rough edges of these finely etched lines, indicating the inherently forceful nature of the act of cutting into a physical surface. The incisions cluster and disperse, they are springy. Yet, one can sense the orientation of these marks is horizontal, from left to right, and suggests temporal progression. They imply an affinity with musical scores.
Each of these plaster pieces is based on a red chalk drawing on paper. These drawings were inspired by the graphic scores of composer Roman Haubenstock-Ramati (1919–1994), an influential figure in Vienna during the 1970s and 80s, whose works were…
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