David Renggli was born in Zurich in 1974. This Swiss artist, who has been present on the artistic scene since the mid-1990’s, works in an original way that radically changes genres and forms.
« Spagahetti » is the title of the third exhibition presented by David Renggli at Chez Valentin gallery. The intentional spelling mistake introduces straight away the work of an artist who plays with the precarious equilibrium of his installations. But the apparent absurdity of his assemblages is misleading.
Nothing is left to chance in David Renggli’s work and although his works may seem to be an arbitrary compilation of found objects, these objects are assembled, brought together and put into perspective in a significant way to create a unity.
This stratified unity gives his work its strength. Apparently, his « paintings glass » and assemblages seem to form a whole. In fact they concentrate and reveal the strata and various stages in the work of composition by the artist, who cleverly juggles with instability and unity.
Like palimpsests, David Renggli’s paintings add together forms and materials layer after layer and contain in themselves the genesis of their production.
Using spelling mistakes, pieces of wood or paper, broken objects, rubbish, painting, collage, cutting out, and invented or recycled forms, the artist employs many materials and techniques, so that his compositions sometimes seem like accidental occurences. At first sight, too, it seems by chance or possibly by magic that these big sculptures made of metal tubes and these meticulous assemblages produced from pieces of wood, plastic or glass are still standing.
In fact, David Renggli’s entire work lies in the control of this disequilibrium that makes fragility the necessary condition for the unity and permanence of the result. This balance between forces which enables the compositions to remain « standing », is often a matter of detail. David Renggli’s paintings and sculptures are based on assemblage and coupling of elements. But the control of forms and materials by the artist transforms the impression of incompleteness into a conscious fragility.
David Renggli’s objects defy the lawss of gravity, play on disequilibrium, confront materials, forms and genres, the infinitely large and the infinitely small, so as to find the perfect balance between apparently heterogeneous elements and draw from this fragility a nearly suspended state of permanence.
Translated by Sophie Bain