KOPIETZ, Gunther, 1963
Artist Biography

Forbidden fruit, 2000
wood, paint
150.0 cm x 230.0 cm x 200.0 cm
Courtesy of BMG Art, Adelaide

You have to find your own place to start. Mine begins with the idea of a particular stance or pose/a person I saw, could have been on the street/in a restaurant/on a park bench/walking the dog... anything that jolts some recognition in me that it is somehow 'essential'.

On one level, my titles simply hint at a possible train of thought that may be set up, much as a cleverly written poem can stir a moment of insight or deeper understanding. It is hoped that the choice of title does not trivialise the artwork, just as the artist's words should not diminish the artwork.

Forbidden fruit (is sweetest?), we only have to read the title and hear the voice within fill in the rest and the questioning begins. Why do we want that which we cannot have?

Bedroom suite (no, not ensemble), a set of matching/tasteful units of furniture brought to fill a bedroom with an acceptable ambience? Or is it? Is she really what 'bedroom' is all about, not what bits of furniture dictate? To borrow Robert Dessaix's line of thought in paraphrase: 'I don't talk down to my viewers, I make the sculpture to talk aloud to myself.'

In closing, as an artist you are constantly expected to justify and explain your imagery through words. One is constantly hovering on the edge of understanding. The artwork 'is' the justification/explanation. The questions are for the viewer and the literary amongst us.

Gunther Kopietz, September 2001

click images to enlarge
Forbidden fruit, KOPIETZ, Gunther, 2000, Courtesy of BMG Art, Adelaide
Bedroom suite, KOPIETZ, Gunther, 2000, Courtesy of BMG Art, Adelaide
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Forbidden fruit, KOPIETZ, Gunther, 2000, Courtesy of BMG Art, Adelaide