The word lush unleashes a ‘Baroque feeling’ in HENRIK EIBEN (*1975 Tokyo). It is usually used to refer to vegetation. As a slang expression it can describe a state of drunkenness. HENRIK EIBEN’S new works, which have been created over the past months in his studio in Hamburg for our exhibition, are rather to be associated with the concept of minimalism. This discrepancy is an integral part of the artist’s œuvre. In four of the new works the artist joins small iron triangles whose surfaces are designed in a variety of ways to superimposed square or rectangular wall objects. However, some of the triangles break out of the geometrical order, emerging from the flat surface and thus questioning the design principles of minimalism. A variety of materials and a subdued array of colours create additional confusion. Metal triangles, which have already become rusty – a flashback to Richard Serra – symbolize temporality in the picture. Rust-coloured, soft suede contrasts smoothly varnished surfaces. The combination of ‘warm’ materials and ‘cold’ iron is demonstrated here with great virtuosity.

Since HENRIK EIBEN studied at the Fibre Department of the Maryland Institute College of Art in Baltimore in 2001 the use of material in his works has played a major role. The connotations of surfaces with various epochs or styles and the haptic-optical qualities of various material structures continue to fascinate the artist. On the other hand metal is for him free of associations and forms a counterpoint. HENRIK EIBEN makes use of this divergence in his works Lemmy and I Think I Lost My Headache. Whereas his earlier wall objects and sculptures were characterized by playfulness and material intensity, nowadays reservation, elegance and stringency can be recognized. Grey and rust- coloured smooth leather is presented in subtle combination with varnished wood and captivates the observer through its cool elegance. In Lemmy five black wall objects made of corrugated sheet steel enter into dialogue with each other. They overlap each other and thus make the surrounding area an ingenious player in the work of art.

In designing the individual parts HENRIK EIBEN constantly has to think about the end result he wants to achieve and must ensure that he does not lose track of the overall whole. Seriousness and concentration are essential. Music helps the artist to maintain the necessary imperturbability during the working process. He considers it to be the most immediate form of communication. This is also what HENRIK EIBEN wants for his art: “It should appeal to everyone and not just be understood by experts. Art functions only in dialogue”, he says and hopes to “introduce a little bit of humaneness into minimal art.”

henrik eiben