Francisco Rozas | Suddenly there was no place to build anymore

The large-format geometric objects for which the artist is known oscillate between flatness and three-dimensionality. They embody exemplary visualisations of mathematical dependencies. Assuming that the sculptures are made of stone or matt lacquered wood, the observer will only recognize on second sight, that he has been decieved. The massive sculptures turn out to be precisely manufactured objects made of light material.

The artist's works are concerned with the theme of deception. The deception of perception. In this logic, the artist found it extremely appealing to deal with the double modular façade of the building erected in the 1970s on the former site of the headquarters of the Ministry of State Security of the GDR in Berlin. The grid structure of the modular façade was designed to allow light in, but not transparency. It served to ensure that the employees of the State Security Service (Stasi) could not be photographed from outside the building.

The artist now takes up this wall element in an object and adds further deceptive elements. The artwork itself leans against the wall in several sections and can only be deciphered further by the movement of the viewer. As always with Roza's artistic realization: concrete to abstract and ultimately minimalistic. 

Rozas' drawings, created with the help of an old typewriter, are also very impressive. The patterns and geometric progressions he creates are extremely rhythmic, rich in variation and simply difficult to trace back to individual letter types. 

“Suddenly there was no place to build anymore” is the artist´s 6th solo show at Galerie Gilla Loercher | Contemporary Art. 

Francisco Rozas, born 1980 in Temuco, Chile. Lives and works in Berlin. The artist studied at the ARCIS University Santiago de Chile, at the Kunstakademie Duesseldorf with Prof. Rita McBride and at the Universität der Kuenste UdK Berlin with Prof. Gregor Schneider and Art in Context (Master Degree). He received the DAAD (Deutscher Akademischer Austausch-Dienst) stipend, the CONICYT (National Commission for Scientific and Technological Research) award and received a stipend from Kunstfonds / NEUSTART KULTUR, BKM.