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erich pick

Heating Tube #1 (2009), Copper, Wall Painting, 102 x 102 cm plus connecting piping

For the exhibition ‚System‘ at M.1 Arthur-Boskamp-Stiftung many heating tubes was found, which are running along the walls of the old exhibition space. Many of them are still in use, but some are have a questionable function, and some pipes are gone dead.
The object, a heating tube bended to the shape of an incomplete cube, is connected to the heating system. Warm water runs through the object, so that visitors can feel the warmth of the heating system.
Heating Tube #2 (2009), Copper, Wanll Painting, 48 x 20 cm plus connecting piping

Heating Tube #2 provides the opportunity to include a node in an existing heating system.
Lightning Arrester (2008), Copper, 297 x 210 cm

For the exhibition ‚Wir nennen es Hamburg‘ (We call it Hamburg) at Kunstverein Hamburg a bended lightning arresster of a lightning protective system was re-run into the exhibition space. Lightning protective systems are obligatory for museums. My work refers to David Christopher Mettlerkamp, one of the founders of Kunstverein Hamburg and researcher in the field of thunderbolts. At the same time the work is refering to Walter Porstmann, a theorist in the field of engineering standards and meteorologist, who invented the DIN standard paper-size.
The paper-size DIN A4, a derivate of Porstmanns standardization, was the format for the work given by the curators.
Entrance (2007), Dimensions and Form: according to the given situation (here: approx. 8 m x 5,6 m)

The room K 21 of the HFBK Hamburg (University of Fine Arts Hamburg) was divided into two parts - a narrow corridor and an exhibition space. This was achieved by a hovering and shifting wall. Through the resulting chasm both areas stay in visible connection. The integrated door mirrors a given door of the room K21. So one enters twice, first from the corridor into the room and then through the door into the exhibition space. However, the way back is barred because of a door closer closing the door after entry and a fake door handle. This handle is made of a rubbery material and thus yields to actuating pressure and is disengaged from the lock mechanism. To exit one has to use another door, in this realized case an exit into the backyard. More fotos.
Sink #1.1 (2006), Dimensions of the installation: approx. 2 m x 2m
Sink #2.1 (2007), Two photos, Diasec (1,99 m x 1, 50 m and 1,08 m x 1,17 m)
An existing sink at a wall was the starting point for a model calculated with the computer. The model then was translated and realized as an installation (Sink # 1.1). As for perception of the installation it is important to experience the spatial aspects and to feel the surface.
In order to take away the sculptural aspects of the installation, the model was then flattened down to two true-to-scale photos (Sink # 2.1). However, these photos had to be realized without actually constructing the installation, only by using a computer software. By doing so, it remains unclear if the images are the result of a calculation or if the photos are representing a concrete situation.
Both works are considered as independent works.
Tiles (2005), Dimensions and Form: according to the given situation (here: approx. 1,1 m x 1,1 m)

Two millimetres plaster on the wall related to floor tiles forming the work ‘Tiles’. Again, representing this work has to take in account the site-specific conditions. That means the given floor tiles and their arrangement.
Hook Line (2004), Dimensions and Form: according to the given situation (here: approx. 4 m x 2,5 m)
Hooks of a previous photo-show are sampled for its rearrangement. Within the modulation the given structure of the bearer of meaning, e.g. distances and quantity, is significant. The given and now unused holes remain void.
Wiring (2003), Dimensions and Form: according to given conditions (here: approx. 1,2 m x 0,8 m)
Corner (2003), Dimensions: 1,4, m x 1,4 m x 2,0 m
Features like a wall-ceiling corner normally are not consciously perceived by the observer, and are initially elusive. Once recognized, it changes the perception of the space eluding uncanniness. The work makes references to Minimal Art, to Baroque as well as to horror film. More photos.
Arc (2002), Dimensions and Form: according to given conditions (here approx. 1,8 m x 0,5 m x 0,2 m)