digital / analog / three-dimensional

Kunstfabrik Groß Siegharts
Opening: Saturday, October 1, 2022, 7 p.m.
Exhibition period: October 1 to November 6, 2022

The exhibition shows different approaches to the generation of sculptural and ceramic artworks and objects. In their work, the three artists explore the possibilities of conventional handcrafted and machine-generated, in this case 3D-printed, forms.

Terms such as unique, original, Multikat (the term “Multikat” is attributed to the artist Peter Weibel), repeatability as well as perfection, error or growth are translated into material, examined and re-evaluated.
Testing craftsmanship and machine work away from instructions for use and deriving further artistic steps from the unexpected or expected results are methods whose results can be discovered in the exhibition.

On display are works by Fridolin Welte (who is also curating the exhibition), Beate Gatschelhofer and Gregor Titze.

Specimen # 13 (2022)

Magnifying lens, metal armature, ceramic specimen

This installation creates a dialectic between micro and macro by transforming mineral structures into imagined topographies through optical mediation. The lens doesn't merely magnify but reconstructs - reality becomes fiction as geological minutiae expand into landscapes that exist only through the viewer's enhanced gaze.

Topographies of Transit (Material Investigations #79)

In his exploration of terrain and movement, Gregor Titze presents work that interrogates the relationship between digital mapping technologies and the physical world they represent. His exhibition encompasses ceramic objects, wall-mounted pieces, and technical instruments that form a critical inquiry into cartographic practice and material embodiment.

"I collect earth between journeys, gathering not just materials but documenting the paths themselves. The digital tracks become as much my medium as the clay," Gregor Titze explains.

Central to his methodology is the collection of raw materials from the landscape between Groß Siegharts and his studio - a process meticulously documented through digital tracking. The resulting ceramic works physically manifest the data collected during these journeys, transforming abstract coordinates into tangible forms.

"When I subvert a 3D printer to displace rather than deposit material, I'm revealing the tension between what technology promises and what materiality delivers. This translation exposes something essential about how we understand space."

The display mechanisms - vintage magnifying apparatus, wooden tripods, and metal armatures - emphasize the technological mediation of landscape. In one piece, a fragment of printed clay is suspended by precision clamps; in another, black circular tiles become abstracted satellite views of terrain.

"Each ceramic piece contains a memory of movement - my own and that of the earth itself. The grid patterns reflect how we've come to segment and categorize landscape, yet the material resists this perfect ordering."

Gregor Titze's work operates at the tension between digital documentation and analog creation. By making visible the journeys embedded in his materials, he demonstrates how our understanding of place is constructed through layers of mediation while grounding these abstractions in the tactile reality of earth and clay.