// Fritz Roßmann

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Fritz Rossmann // Texte
Fritz Rossmann´s Dancing Vessels

The first reaction that one has in front of Fritz Rossmann's work is an impression of lively movement. His spinning-top vessel forms dance within their own space. Magically, as the observer's eye travels around the form, the perfectly controlled shape of each piece achieves balance and harmony. The artist has gained recognition both in his own country and internationally for his stoneware and porcelain vessels conical shapes which, as result of the sense of motion contained in them, recall childhood memories.
Rossmann's work relies on the historical language of the vessel form. He has had a long term interest in the traces of history seen in vessels and hag specific admiration for the Egyptian and Greek amphorae. The appreciation for these forms goes back to his first visit to the Museum ofModem Art in New York City. "That form hag followed me all my life...Egyptian pots, their throwing lines... the beauty of forms devel oped thousands of years ago. "
For Rossmann, the creative force of the piece lies equally in the response to the form, the past and the artist' s skills. Over years of searching different shapes, he has always returned to the conical share and this now has become his signature. The form has grown within himself and is a conscious element of his artistic expression. As a consequence of this, one witnesses a work of art that has an expressive language which changes as it responds to the variation of melodies.
During the past few years, the artist's work has changed and made dramatic developments. Still based on the simple idea of a thrown cone, he is now pursuing the concept of perfection of beauty. But this time the vessel dares to lose that perfection in order to garn perfection within imperfection. He says: "During the 1980s, German ceramics concentrated on the perfection of the form. Now, for me, the concern is not with making ideal forms, it is about allowing the viewer to find beauty in what, on first impression, does not appear to be completely perfect. It is this that I now understand as perfection."
Minimal and contemporary in concept, his vessels relate to the balance of internal and external volumes, colour and form in a dynamic spare. New processes allow Rossmann to successfully express this idea. Continual research and experimentation is central to his work. In some pieces, he combines vibrant colours with black used as a frame. "In those cases the black rim frames the piece, giving a shiny resonance to the form and coloured surface. Conversely, the black colour is the quiet part of the stoneware and porcelain vessels, a place for rest."
Rossmann feels that it is essential to spend time on the development of new ideas. Reaching beyond conventional approaches, his recent practice has involved ambitious shapes. Ideas expressed on movement, balance, tension and rhythm, combine harmonies on a living form series that complement each other, like a ballet of dancing forms. In exploring how imperfection becomes perfection and vice versa, he transforms shifting textures and shapes into dancing atmospheres.

Elisa Quiaro
Quelle: Ceramics: Art and Perception No. 37, 1999