new-york

Heide Fasnacht

Germans Van Eck Gallery

Heide Fasnacht’s new sculptures mark a departure from her work of the past decade. Until now, Fasnacht has worked primarily in wood. In the mid ’80s, her precise geometric wall reliefs grew progressively rougher and more biomorphic. As these spiraling configurations evolved, they moved from the wall to the floor and increased in scale, culminating in configurations of spheres that challenged the viewer’s sense of space and balance. By the late ’80s Fasnacht had returned to a refined geometric vocabulary, with large, often brightly painted planes, cylinders, and spheres that set the stage for her latest stylistic about-face. As Fasnacht has alternately favored the poles of a familiar dialectic between the rational and the intuitive, her recent return to a post-Minimalist-inspired mode is perhaps less surprising than it at first seems if viewed in light of this tendency. This same dialectic

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