Kilian Saueressig's "ArtUniverse"

Globe - Cycle - Segment - Variation - Title

Kilian Saueressig, an artist who defined a whole cosmos of works of art for the creation of his works of art in a very short time. A cosmos that has since manifested itself more and more from the imagination in the real world in the form of his works of art.

The creative art cosmos of Kilian Saueressig is very structured and constructivist and consists of four levels, the "Globes", "Cycles", "Segments" and the "Variations". The structure of his art cosmos or art universe is reminiscent of the structure of an atom (globe) with its atomic nucleus around which the electrons (segments) revolve on different paths (cycles). The variations are to be interpreted analogously to the different energy states or as excitations of the atom.

The connections of this art universe become clear as soon as the viewer takes a closer look at one of his globes with the corresponding sub-levels. The artist also supplies a booklet with each work of art, in which the work of art is briefly but precisely classified in Kilian Saueressig's art universe.

Kilian Saueressig's Globes are the themes he deals with and these themes are divided into different subgroups. In addition to his art structure, Kilian Saueressig has an art key for each of his works of art, which can be found in the work of art and in the booklet. The art key shows the essential stylistic elements of Kilian Saueressig's works of art.

His works of art play with form, colour, light and material. Kilian Saueressig plays with self-developed innovative processes for coloring and shaping that go far beyond the currently known approaches. Metallic effects, matt-gloss effects, micro-macro structures, manual and digital shaping technologies, etc.

For Kilian Saueressig, new technologies are an essential means of artistic design. Allowing new degrees of freedom and ideas to flow from the artist's head into reality. Technologies used for exaggeration, alienation, inversion, for artistic reality in general. Playing with new materials and processes always gives rise to new impulses for new works of art – and vice versa. Art and technology at Kilian Saueressig: They are mutually dependent and are therefore inseparably cohesive. In other words, technology and spirit merge into a new amalgamation of art.

From real brushes to digital brushes, from manually formed clay molds to laser-structured surfaces to self-made color systems, Kilian Saueressig uses an almost unbelievable variety of technologies. Kilian Saueressig mixes technologies like the classic painter mixes colors. The new technologies give him new opportunities to create completely new works of art. Just like the different technologies, the artificial key is an analytical, technological and creative element of Kilian Saueressig. In this way, the artist uses his art key to define his own works as well as to analyze the works of art of other artists in order to trigger a ping-pong game of inspiration.

In today's modern age we live in a time with an unprecedented speed of evolution, which is caused by the human mind and the computer and is changing the world faster than ever before. The effects of this gigantic speed of evolution fascinate Kilian Saueressig and frighten him at the same time.

Philosophy and innovation are two very important driving forces for Kilian Saueressig. He sees art as his emotional output medium for his insights and messages. His philosophy quickly becomes clear in his works. Most of his works have in common to depict complex relationships in a simplified way in a work of art. In doing so, the artist questions the motives of mankind: How and why does something happen and what are the effects? It is analytical and time-critical, but also offers solutions for a human world in the future.

The self-illuminated works by Kilian Saueressig are multi-layered. Shaped microscopically as well as macroscopically, the colors communicate with the shapes. The works usually have at least two image levels that are more or less decoupled from each other for the viewer. As soon as the internal light source of the works of art is switched on and its color and brightness are varied, new visual impressions are created. The different image motifs in their different image levels are superimposed together with the color of the background lighting to create a large number of new images. A fascination that the works of art exert especially at night and at the same time color the space in which they are located in a velvety hue and integrate the space and the viewer into the work of art.

The wall sculptures are plastically shaped, with the forms ranging from abstract to realistic. Ornamental-looking plastic structures on the macroscopically formed surface serve to take up, reinforce or even alienate the theme of the work of art. Many of the wall sculptures, which arch out of their frames and appear to want to leave their frames, also become free-standing sculptures in other variations on the theme. For Kilian Saueressig, the wall sculpture can also be seen as a membrane between different worlds. From Flat Image to Sculpture or Transference: From Assumption to Knowledge.

Kilian Saueressig is driven by the urge for knowledge and innovation into the self-designed future. Knowledge about the world as a whole, natural sciences, sociology, religion and many other topics. The knowledge about the motivation of people in the primeval past up to the industrial modern age. The development of art and the origin of different artistic styles.

Art, the mirror of technology? The alienator and exaggerator of technology, of society?

Any art movement is always a child of its time. It is always in mutual interaction with its environment and in particular with technological developments in our modern age.

Art – design without function? The definition of art is diverse and certainly very different from person to person. However, art always has a function. It can inspire, serve as a status object or be decorative. It can seem banal, meaningful, liberating... Art has many facets, but significantly fewer than the facets of humanity and therefore still plenty of room for new art movements and discoveries.