: mitte | centre
Inneres Leuchten | Inner Glow
KURT STRAZNICKY Altar, Ambo und Tabernakel / Altar, ambo and tabernacle, 2000, Kunstharz / Synthetic resin. HENKE SCHREIECK ARCHITEKTEN Architektur / Architecture Kapelle, Kloster St. Gabriel der Benediktinerinnen von der hl. Lioba, St. Johann bei He | Diözese Graz-Seckau/Sonntagsblatt, Gerd Neuhold
KURT STRAZNICKY Altar, Ambo und Tabernakel / Altar, ambo and tabernacle, 2000, Kunstharz / Synthetic resin
HENKE SCHREIECK ARCHITEKTEN Architektur / Architecture Kapelle, Kloster St. Gabriel der Benediktinerinnen von der hl. Lioba, St. Johann bei Herberstein
Synthetic resin is the preferred material of the artist Kurt Straznicky, who was born in Graz in 1959. His art deals with the categories of memory, perishability, space, and light. Photographs of people cast in acrylic resin can be found time and again, which appear floating in the unknown or captured in motion. Sometimes these are negative forms that can only be recognised through the effect of light and shadow, and thus obtain a mysteriously auratic presence. In the three principal objects of the liturgical equipment of the chapel of the Benedictine Sisters of St. Lioba of the monastery of St. Gabriel in St. Johann near Herberstein, Straznicky fully concentrates on pure form in space and its transformation through the effects of light. Thus he transforms a basic category of sacral design into the world of forms of the 21st century with a material of our time. “Light is beautiful because the beauty of God becomes transparent in such a way that the beauty of God can be loved apprehensively in the natural human addiction to beauty full of light”, wrote the monk Pseudo-Dionysius the Areopagite in his philosophical treatises around 500 AD, which were to become very influential in sacral art over the centuries to come. Early medieval cruces gammatae (jewelled crosses) were inspired by it just like Romanesque enamel art or Gothic glass windows. In the first place, Straznicky’s central altar cube formally responds to the reduced formal language of the chapel architecture conceived by the architects Dieter Henke (*1952) and Marta Schreieck (*1954) in 2008, which opens up the view into the surrounding nature via slanted corners and lets lights enter the space unfiltered. The crystalline architectural forms and the light seem to be bundled in the altar; at the same time, a suggestive glow unfolds from inside the block in a virtually reversing movement, the outward block shape of which is broken up from inside and transposed into lucid limbo. A dynamics emerges in the well-tempered interplay of lightness and gravity, light and shadow, closed and open form that invites us to meditate about the Creator, who can be experienced in the sacrament. The artist continues the suggestive drama of presence and absence in the simple tabernacle on the altar wall, which gives a presentiment of the liturgical vessels behind amber-coloured acrylic resin but withdraws them from immediate visual conceivability.
Text aus |Text from: Sakral: Kunst, Innovative Bildorte seit dem II. Vatikanischen Konzil in der Diözese Graz-Seckau | Sacred Art Innovative Pictorial Sites in the Diocese of Graz-Seckau since the Second Vatican Council. Ausgewählt und mit Texten erläutert von | Selected and explained with texts by Hermann Glettler, Heimo Kaindl, Alois Kölbl, Miriam Porta, Johannes Rauchenberger, Eva Tangl. Mit einem Einleitungsessay von | with an introductory essay (German only) by Johannes Rauchenberger, Regensburg 2015, S. | p. 278-281.