The Intersection of the Tangible and the Virtual

Based in Vienna and Gattendorf, Thomas Gänszler explores the thin, often blurred lines between our physical surroundings and the digital realms we inhabit. His work often begins with a question of how we perceive what is real. By using tools like 3D printing, CNC milling, and virtual reality, he translates intangible data into physical forms. These objects—polygonal structures and monolithic digital remnants—bridge the gap between the virtual and the material. He treats function and sculpture as communicating vessels, often reducing the practical use of an object through fragmentation to increase its sculptural presence.

His artistic approach is deeply rooted in the tension between different modes of existence. He looks at how technological processes mediate our experience of the real, turning data into something we can touch. This investigation into the porous boundaries of reality is central to his practice, as he seeks to understand how the digital transforms our sense of space and embodiment.

Methods and Materiality

The way Gänszler works is a blend of traditional craftsmanship and advanced technology. He moves between the high-tech precision of custom algorithms and the tactile nature of physical media. His process is interdisciplinary, often involving several layers of translation to move an idea from a digital concept to a tangible object.

• Spray painting in black and white
• 3D printing and CNC milling
• Virtual reality and immersive installations
• Photography and sculpture

In his earlier explorations, such as his spray works, he utilized a specific visual language to challenge the viewer. From a distance, his images can appear like photographs, creating a deliberate blurriness that leaves room for interpretation. This technique undermines visual habits and forces a reconsideration of how we look at the world around us.

The Creation of Fictional Topographies

A significant part of his ongoing work is the project titled Kontinent. This project involves the creation of a fictional topography that is realized across multiple media. It is not a single object but a landscape of ideas spread through various forms. Through this method, he explores how digital landscapes can be materialized into something that feels both familiar and alien.

His work often references both art history and the aesthetics of everyday, popular culture. He finds a connection between the high culture of the past and the trivial, functional objects of the present. By bringing these two worlds together, he creates a space where the viewer must navigate the relationship between the known and the imagined.