Fragmentary. Ambivalent. Questioning.

Flourish, compliance, and embellishment are not subjects to Walter Weers body of work. His objects often strike as raw, half-finished and scattered – somewhere between beginning and completion. The contingency of his work appears nearly accidental – almost lapidary.

The artist was born and raised in Vienna, Austria. He is a collector of materials and ideas alike. In his artwork ideas and materials are entwined to an exceptional degree. Whether the materials lead to news ideas, vice versa or both cannot be said for sure. They are an interaction of construction and deconstruction, bringing parallels together, solidifying conglomerates, a symbioses of abbreviation, a controlled destruction, demolishing and rebuilding, connecting, opening and subtraction. In the end the remaining opus leaves the viewer with the right felling, maybe unfathomable but always real.

Walter Weers is fascination with the bow net, a specific form of net, is reflected in his work. The duality between the illusion of freedom, due to its open form and loose weaves, and at obvious end of freedom makes the artist and viewer both relive the feeling of ambivalence.

Walter Weers body of work challenges the viewer to question the objects, to entwine oneself into ones own world of thoughts, to take nothing for granted, and to sharpen ones view for details.

It is as it is – simple but enigmatic jet still dominant. And that's all his Art needs!

Walter Weer
Born in Vienna in 1941
Study of Natural Science at University of Vienna
Study at University of Applied Arts, Vienna
1995/96 Visiting Professor at University of Applied Arts, Budapest
1998 Stage Set at Elisabethbühne, Salzburg

In his exhibition “The power of the lapidary” Walter Weer installs wheels, bow nets and other objects. Each of his works distinguishes itself through a stimulus created through its haptic and is emphasized by colours, such as black, white and red, as well as the unique quality of its materials, that make his work unique and alive.