The new work of Filip Haag are an eye catcher and produce association premises. They can appear disparately – and enlighten near related perception fields.

The perception is an important part of Filip Haags art reception. The drawings, paintings and the plastics leave the viewer enough clearance for own interpretations, although they have an unusual precise appearance. Color, surface and materiality are crucial, the medium can diversify. In the development progress of an artwork the starting point is not clear at the beginning, the artist let the journey of the work open for some time. In general his curiosity guides Filip Haag, he sees himself as an explorer. His work oscillates between chaos and order.

In his third solo exhibition at the gallery Bernhard Bischoff & Partner the artist will show new bronze sculptures, drawings with many details and tabloid paper paintings on carton. He was last year for six month with a scholarship from Bern in New York City and engaged the theme “bronze”. The series of bronze arose by experimenting with wax. Under the Brooklyn Bridge and in Williamsburg, Filip Haag poured hot, liquid wax in the cold East River. The solidified wax structures were casted in bronze by a art foundry. The small-scale sculptures developed a black patina and will be presented in a loose group. Due to the dark color the amorphous, monochrome sculptures appear immaterial. Only after a near distance the different surface strucutres that the water stream drew into the wax can be seen in the bronze.

Fine drawings and paintings complete the sculptures. As a stew (daily task), Filip Haag was drawing in the work MANAMAHAN daily on a paper roll in the size 450 x 50 centimeter. Short dashed lines are covering the paper. Although it isn’t a representational drawing, it associates to landscape or layers. The shape is done by a growth and layer processes.

“Splatter Drawing” is another work: The wall drawing consists of collected bronze splashes, which can be developed as remains in the process of pour bronze. It’s developped by the artist without a stringent concept. The single splashes are parts of a growing shape, which isn’t finally barely representational but can be recognizable as a face.

In addition, Haag shows small paintings in ink and oil on cardboard in abstraction gray and color scales. They remind of natural neckline and relates to a single body of work in the exhibition.

During his stay in New York, Filip Haag developed a photographic seeing. For a long time he was strolling in the city and was exploring the visibility with his camera. The photos served as a tag for a blog entry, which adds the artistic work with views from reality. The blog operates as work in progress and can be looked in printed form in the gallery. The perception fields find also here a common language.