Helmut Dorner’s almost organic sculptures are concerned with the continuities and ruptures of forms in space. The unrefined plaster, showing the roughness in the material, the fingerprints, the areas of white or gray paint, render the sculptural volumes self-evident as well as fragile, as if they were simple molds. Negative forms, they are also as much removed as possible from the object, for they are the works of a painter; they are a stage in the artist’s approach to the pictorial surface.

Dorner’s paintings over the last several years maintain a clear relationship to three-dimensionality The