Die „Vogelmänner“ (1983/84) The “Birdmen” (1983/84) can be interpreted as allegories of human hubris—sculptures that depict the eternal dream of flight while simultaneously anticipating the failure of our own drive for progress. They thus stand in a long tradition: from the mythical Icarus to Leonardo's flying machines and the technological hybrids of the 20th century.
Their fragile construction of wood, metal, polyurethane, and textile skins reveals a twofold truth: On the one hand, they embody the longing for transcendence, for overcoming earthly limitations. On the other hand, they make visible that this departure is only possible through artificial, provisional devices whose fragility constantly undermines the promise.
Thus, the "birdmen" become symbols of a human condition that becomes increasingly apparent in modernity: Human beings strive for transcendence, yet repeatedly find themselves trapped by their own constructs. The figures confront us with the contradiction that progress is inconceivable without fragility, that hubris and failure are inextricably intertwined.
VOGELMANN 1, 1983/84, hanging object, approx. 120 cm high
VOGELMANN 2, 1983, electro-kinetic, wood, metal, polyurethane, 160 cm high
VOGELMANN 3, 1983, electro-kinetic, wood, metal, nylon fabric, polyurethane, 150 cm high
Skizzen und Zeichnungen zum VOGELMANN, 1983/84