The Artistic Practice of Eberhard Bosslet
Eberhard Bosslet is a German contemporary artist whose diverse practice spans sculpture, installation, light art, painting, photography, and land art. Since 1979, his work has explored site-specific environments, both indoors and outdoors. His creative output includes works involving electric light and steering, as well as performance pieces such as "Per-/Re-ception" (Wahr-nehmen), which utilized electric installations and zinc sulfide in an industrial yard in Speyer, Germany.
His sculptural and installation work often engages with the physical properties of materials. This includes the use of:
Explorations in Form and Space
Bosslet's investigations into space and structure are evident in his various series. His "Re/formations and side effects" involve the stabilization or destabilization of perception in industrial and residential buildings through the use of white painted lines or black color fields. In his "Supporting Measures" series, he creates indoor installations using items from the building trade to rearrange space.
His photographic work includes the "Mobilien & Immobilien" series featuring a painted Vespa motor scooter and house facades in Tenerife, Canary Islands, as well as the "Falsches Wasser" series depicting ships and boats on land. Other notable series include "Spacelab", which utilizes living room lights from the 1950s–1970s, and his biomorphic "Stool Archipelago" sculptures made of fiberglass plastic.
Questions & Answers
Can I browse Eberhard Bosslet's works by movement?
The All Movements page groups Eberhard Bosslet's artworks by art movement.
Where can I see all artworks by Eberhard Bosslet?
Every work by Eberhard Bosslet on this website can be browsed from the artist's All Artworks page.
Can I explore Eberhard Bosslet's works by color spectrum?
The Spectral Index page organizes Eberhard Bosslet's artworks by color.
Can I explore Eberhard Bosslet's works by subject?
Eberhard Bosslet's works can be explored by subject on the artist's Subject Atlas page.
