Frank Wackerbarth

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Frank Wackerbarth is a German artist born in 1969 near Kassel.

He moved to San Gallo, Switzerland, with his family at the age of seven, country where in 1991 he completed his studies in carpentry and design.

In 1995, he started professionalizing his skills with an Italian artisan, with whom he mastered the techniques of aluminum processing: it is during this period that he grows a particular interest for this material, vastly utilized in his future art production.

In 1997, after a short time spent in London, Wackerbarth decided to move to Toulouse, France, but nevertheless continued travelling, expecially to Barcellona, Spain, where he got the chance to study Salvador Dalì and Antoni Gaudì’s masterpieces.  He started in these years to create his first aluminium wall sculptures, taking inspiration from the Optical Art movement of the sixties.

Wackenbarth has displayed in New Zealand several times, alongside a number of exhibitions held across Europe in countries like Germany, Spain, and France. He participated along the years to many exhibitions, like “Ellipse” at Aria Art Gallery in Pietrasanta, Italy, in 2007, and personal solo shows: “Southern Reflection” in 2007 and “Universum Verändert” in 2008, both presented at the Sanderson Contemporary Art in Auckland (NZ), “Kunst im Gewölbe” in 2014 at Konstanz (Germany) and Start Art Fair in 2016 at the Saatchi Gallery of London, in collaboration with Aria Art Gallery.

Wackerbarth started using photography as an artistic medium, but soon changed medium, moving towards three-dimensional art, and began experimenting with sculpture.

The artist includes three key elements in his artworks: the object, the observer and light. Each artwork has a surface that is highly reactive to brightness; this feature allows a constant perception shifting, based on the point of view from which the piece is observed.

The surfaces seem to rotate, warp and transform themselves depending on the viewer’s position that modifies their perspective and depth. Wackerbarth describes this process as a sort of “interaction”: the public, by moving and thus discovering new visual patterns, is given the possibility to physically connect with the sculpture.