에른스트 감펠 Ernst Gamperl

STATEMENT




에른스트 갬펄은 목공일을 배우는 동안 우연히 선반에 관심을 돌리게 되었고, 그로부터 그와 나무와의 끈질긴 애정관계는 시작되었다. 예술에 대한 바탕지식은 전혀 없이 독학으로 시작해서인지 갬펄의 선반작업은 전통에 구속받지 않았다. 그는 초기부터 그가 앞으로도 영원히 고민할 예술적 문제에 온 힘을 쏟았다. 오늘날에도 그는 비슷한 모양들을 깎고 또 깎아, 즉흥적으로 항상 새로운 디테일을 창조해내고, 다양한 구조와 윤곽들을 배치하여 여태까지 알려지지 않은 새롭고 참신한 완전체를 창조한다. 한때 갬펄은 희귀하고 이국적인 나무들을 찾았지만 현재는 유럽나무들인 단풍나무, 너도밤나무, 이탈리안 올리브 나무–주로 오크나무–를 선호하게 되었다. 선반일의 첫 몇년 동안은 건조하는 데에 시간이 많이 걸리는 갓 잘라낸 나무의 대략 큰 형태만 잡아놓는 밑 작업만 돌려내었지만, 지금은 건조되지 않은 나무만 쓴다. 갬펄의 초기 작품들은 정확도가 높은 기교와 빈틈없는 디자인을 보여주고, 그의 최신 용기들은 미니멀함과 동시에 고대의 형태들과 표면들을 이용하여 나무의 미를 매혹적이게 이끌어낸다.

에른스트 갬펄의 조각들은 선반에 단순히 돌려지는 것이 아니라, 그가 그의 재료인 나무에 대해 오랫동안 공들인 끝에 얻어낸 것이다. 지난 20년 동안 그는 나무들의 건조 방식과 그것이 조각에 미치는 영향을 연구해왔다. 그는 그것이 ‘give and take’ 이라고 한다. 그것은 자재와의 대화이고 절대 강요하지 못하는 어떤 것이다. 이러한 “깨달음”의 암시들에 더 가까이 다가갈수록 그를 도전하게끔 만드는 원동력이 된다.

곡선을 이루는 모서리들과 면들, 그리고 돌출된 부분과 움푹 패인 부분들 모두 나무의 본래 기형에서 생겨나온 것이다. 그것은 그가 의도적으로 고치고 제어하는 나뭇가지들이나 불규칙한 성장 형성, 틈새들, 골절과 똑같은 디자인의 부분적인 디테일이다. 재료의 결, 색과 선이 내재된 표현의 힘, 그것의 강약도, 압축된 무게감 혹은 종잇장같은 반투명함은 그의 표면처리–연마와 왁스칠, 홈을 닦아내고, 병렬된 줄을 금은세공으로 조각, 매끈하고 윤기나는 것과 표면이 거칠고 흉터가 진 표면들과의 대조 등에서 강조된다.

조각가들의 조각을 이루는 것은 그들의 기교와 재료뿐만이 아니라 나무와 그 성장에 수 세기동안 작용했던 어떠한 힘들이다. 홀로, 혹은 숲에서 자라든, 비옥한 혹은 메마른 토지에서 자라든, 바람과 날씨와 같은 외부적인 요인들이 나뭇결의 기억 속에 남겨져 있고, 용기에게 그의 최후의 형태를 선사한다. 당연한 것이겠지만, 갬펄은 몇 세기 된 나무를 베는 것을 싫어하기 때문에 바람에 버티지 못하거나 이미 쓰러져있는 나무만을 사용한다. 각 용기의 밑부분에서는 선반의 흔적과 작품 번호, 제작년도, 그리고 나무의 나이를 찾을 수 있을 것이다.

끝으로, 건축가 루이스 칸의 말을 빌려 닫고자 한다. “나무에게 뭐가 되고싶은지 물어보라.” 에른스트 갬펄은 나무가 되고자 하는 것으로 바꿀수 있는 재능을 가졌다. 그리고 그것은 경탄할만 하다.



Whilst training in carpentry Ernst Gamperl turned to the lathe rather by chance, and embarked on his lifelong love affair with wood. Starting out an autodidact with no previous knowledge of the art, Gamperl was unhampered by convention in his approach to turnery. From the outset he devoted his energies to the same artistic issues he was to toil at ever after. Even today he carves similar shapes time and again, improvising ever-new details, and time and again he juxtaposes structures and profiles to create a whole that is completely novel, hitherto unknown. Though Gamperl used to be ever on the lookout for precious, exotic woods, he has since come to prefer European wood like maple, beech, Italian olive tree and principally oak. During his first few years at the lathe he would turn “rough forms” out of freshly-cut wood that took a long time to dry before they could be treated, but now he exclusively uses wet wood. Gamperl’s early works display precision craftsmanship and clearcut design; his more recent receptacles employ minimalistic, archaic forms and surfaces to bring out the beauty of the wood with compelling effect.

Ernst Gamperl’s sculptures aren’t just turned on the lathe, they’re the fruit of years of painstaking toiling with his medium: wood. Over the past 20 years he has studied its drying properties and their impact on the sculpture. He knows it’s a give and take, a dialogue with the material, he can never force a shape upon it. Working out the implications of this insight is a challenge that always spurs him on.

Curved edges and bulges, projections and indentations emerge out of the natural deformation of the wood. They are part and parcel of the design, as are branches and irregular growth formations, and fissures and fractures that he consciously repairs and controls. The immanent expressive power of the material, the grain, lines and colouring, its softness or hardness, compact heaviness or paper-thin transparency is underscored by his treatment of the surfaces: waxing and polishing, scrubbing out the streaks or carving filigree parallel grooves, contrasting smooth and shiny with rough-hewn, scarred surfaces.

What makes the sculptor’s works what they are, however, is not only his virtuosity and material, but the forces that have been acting on the tree and its growth for centuries. Whether it is solitary or grove-growing, on fertile or hungry soil, exposed to wind and weather and outside influences ? all these factors are engraved indelibly on the “memory of the grain” and give the receptacle its final form. Naturally enough, Gamperl is loathe to chop down a centuries-old tree, so he uses trunks that could not stand their ground against the wind or had to be felled for other reasons. On the bottom of each receptacle you’ll find the turner’s mark and work number, the year it was made and, quite importantly, the age of the tree.

To close with the words of architect Louis I. Khan, “Ask the wood what it would be.” Ernst Gamperl has the gift of turning wood into what it would be. And that’s fabulous.



BIOGRAPHY



Exhibitions
2015
HANDS+Expansion Coexistence, Cheong-ju INT’L Craft Biennale International Pavilion, Korea
2014
Aesthetics of Healing with Gallery LVS, Shinsegae Gallery, Seoul,Busan,Incheon,Gwangju / Korea
Knogge Summer Gallery, Axel Pairon Gallery, Knogge / Belgium
Ernst Gamperl, At the Corner by Arts & Science, Tokyo / Japan
Martino Gamper- design is a state of mind London / Great Britain
Positionen des Gestaltens, Galerie Handwerk / Germany
COLLECT 2014 Gallery Sarah Myerscough Fine Art, London / Great Britain
2013
Gallery LVS at Cheongju International Craft Biennale, Cheongju / Korea
Li Trieb, Ernst Gamperl und Ursula Guttmann Galerie Hilde Leiss, Hamburg / Germany
Ausstellung 50, J?rgen Pr?ll, Schmuck und Ger?t Weiden / Germany
COLLECT 2013 Gallery Sarah Myerscough Fine Art, London / Great Britain
2012
Gallery LVS at Craft Trend Fair, Seoul / Korea
sequences ? christa l?htje, ernst gamperl Galerie im Kelterhaus, Rosi J?ger, Hochheim / Germany
Ernst Gamperl, Gallery LVS, Seoul, Korea
COLLECT 2012 Gallery Sarah Myerscough Fine Art, London / Great Britain
2011
Gallery LVS at Seoul Design Festival, Seoul / Korea
Holz, Galerie Carla Renngli, Zug / Switzerland
Gamperl,Stockmans, Galerie Werft 11, Cologne / Germany
Materials Revisited: 10th. Triennial for Form and Content, Museum f?r angewandte Kunst, Frankfort on the Main / Germany
Grenzwerke II Galerie Eva Maisch, W?rzburg, Germany
Hedge Gallery at SF 20, San Francisco / USA
Exempla, International Fair of Handicrafts, Munich / Germany
“Workshops of the Future”
2010
Drehmomente Hans J?rgen Simon Paperworks, Ernst Gamperl Woodwork, Kloster Schloß Bentlage, Rheine / Germany
Display by Arts & Science, Tokyo / Japan
Rotationen ? Gef?ße aus der Bewegung, Galerie Handwerk, Munich / Germany
Ospiti inaspettati, Museo Bagatti Valsecchi, Milan / Italy
2009
Ernst Gamperl ? Drehmomente, Lignorama, Riedau / Austria
U-tsu-wa-Lucie Rie, Jennifer Lee, Ernst Gamperl, 21_21 Design Sight, Tokyo / Japan
2008
40 years Arts and Craft gallery, Arts and Craft gallery, Munich / Germany
Scoprire il Design ? Adventures with Objects, Pinacoteca Agnelli, Torino / Italy
Kleines Landhaus, Saanen / Switzerland
2007
Mus?e d?partemental du Compagnonnage de Roman?che-Thorins, Roman?che-Thorins / France
Luminaire welcomes Ernst Gamperl, Luminaire, Chicago / USA
2006
Galerie Carla Renggli, Zug / Switzerland
Un giro pi? del cerchio, Oratorio San Rocco, Padua
Food Festival, Mescolanze, Rovereto / Italy
2004
Ernst Gamperl during the ARTbasel, Urs von Unger, Basel / Switzerland
Gewerbemuseum Winterthur, Winterthur / Switzerland
Ernst Gamperl, Gallery Binnen at kunstRAI, Amsterdam / Netherland
I legni di Ernst Gamperl, Arcade Glass, Milan / Italy
Schalen, Arts and Crafts Gallery, Munich / Germany
Collect, Victoria and Albert Museum, London / Great Britain
Corporal Identity: 9th Triennial for Form and Content, Museum for Arts and Design, New York / USA
2003
Giovanni Corvaja, Ernst Gamperl, Michele de Lucchi, Jacqueline Ryan, Galerie Hilde Leiss, Hamburg / Germany
Werkstattausstellung, Claus Tittmann, Thurnau / Germany
Corporal Identity: 9th. Triennial for Form and Content, Museum angewandte Kunst, Frankfort on the Main / Germany
Ernst Gamperl Holzobjekte, Galerie Carla Renggli, Zug / Switzerland
Traces of Nature, Hand and Spirit, Studio Michele de Lucchi, Milan / Italy
laboratorio 15, Milan / Italy
I.H.M., Neue Messe Munich / Germany
Kleines Landhaus, Saanen / Switzerland
2002
Volumes in Wood, Cream 136, Singapore
Diamant·Holz·Textil Galerie Hilde Leiss, Hamburg / Germany
Exempla, International Fair of Handicrafts, Munich / Germany
domizil, Basel
Werkstattausstellung, Claus Tittmann, Thurnau / Germany
Contemporary Decorative Arts Exhibition 2002, Sotheby’s, London / Great Britain
2001
A tavola con il Design, dadriade, Milan / Italy
2000
Ernst Gamperl, Holz, Galerie im Kelterhaus, Rosi J?ger, Hochheim / Germany
Kloster Schloß Bentlage, Bentlage-Rheine / Germany
Volumes in Wood, Miyake Design Studio Gallery, Tokyo / Japan
von Holz zu Holz, Ernst Gamperl, Cees Andriessen, Galerie Geym?ller, Essen ? Werden / Germany
1999
Touch Wood ? von der Keule zum Design, Bernische Stiftung f?r angewandte Kunst und Gestaltung, Bern / Switzerland
20 years gallery Hilde Leiss, Galerie Hilde Leiss, Hamburg / Germany
Ernst Gamperl Natan, Brussels / Belgium
BMW, Milan / Italy
The Conran Shop, Paris / France
1998
Ernst Gamperl ? Wood, Strenesse, Hamburg / Germany, presentation of the Catalogue
Galerie Hilde Leiss, Hamburg / Germany, presentation of the Catalogue
Galerie Gierig, Frankfort on the Main / Germany
Natan, Brussels / Germany
1997
Futonhaus, Zurich / Switzerland
Galerie Geym?ller, Essen ? Werden / Germany
International Woodturning Exhibition, Philadelphia / USA
Museum f?r Kunst und Gewerbe, Hamburg / Germany
Ernst Gamperl ? Contrasts, Arts and Crafts Gallery, Munich / Germany
1995
Galerie Hilde Leiss, Hamburg / Germany
Galerie Slavik, Vienna / Austria
1994
Rotunda, Museum f?r Kunst und Kulturgeschichte, Dortmund / Germany
10 years Danner Award, Arts and Crafts Gallery, Munich / Germany
Compact Forms ? Wooden Objects, Arts and Crafts Gallery, Munich / Germany
6th Triennial of contemporary German Arts and Crafts, Museum f?r angewandte Kunst (Grassimuseum), Leipsic / Germany
6th Triennial of Contemporary German Arts and Crafts, Museum f?r angewandte Kunst, Frankfort on the Main / Germany
International Woodturning Exhibition, Victoria / Australia
Wood ? A Raw Material of the Future, Internationale Gr?ne Woche, Berlin / Germany, special show of the german federal ministry of Agriculture, Nutrition and Foresty
1993
Wooden Bowls, Arts and Crafts Gallery, Munich / Germany
New York Gift Fair, New York / USA
Danner Award Exhibition, Neue Residenz, Bamberg / Germany

Awards
2002
Hessian State Award: 3rd prize, Autumn Fair,
Frankfort on the Main
Bavarian State Award, International Fair of Handicrafts, Munich
1999
Danner Award, Munich
1998
Hessian State Award: 3rd prize, Autumn Fair,
Frankfort on the Main
1994
International Woodturning Exhibition and Competition, Victoria: Final winner | Best piece of show, 1st prizes in four other categories
1993
Danner Award, Munich
Hessian State Award: 1st prize, Autumn Fair,
Frankfort on the Main
1992
Bavarian State Award, International Fair of Handicrafts, Munich

Collections
Victoria and Albert Museum, London
Museum f?r Kunst und Gewerbe, Hamburg
Die Neue Sammlung ? The International Design Museum Munich/Design in the Pinakothek der Moderne, Munich
Collection Issey Miyake, Tokyo
Fond National d’art Contemporain, Paris
Muse? des Arts D?coratifs de la Ville de Lausanne
Collection Grether, Basel
Schloß Gottorf, Schleswig
Schloß Pillnitz, Dresden
Nationalmuseum W?rttemberg, Stuttgart
Museum f?r Angewandte Kunst (Grassimuseum), Leipsic
Museum f?r Angewandte Kunst, Frankfort on the Main
Kestner Museum, Hannover
Danner Foundation, Munich
Collection Vok, Padua
Collection Alexander von Vegesack, Hundsbach



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