If one is to consider the word “art” from its very root to its meaning and well beyond its etymological origin one will see that it hints at further concepts like articulation, mechanism, continuity and discontinuity.

Thilo Heinzmann evokes such semantic issue in his fourth solo exhibition at the Heinrich Ehrhardt Gallery by means of a selected repertoire that includes new, fresh pieces of art that have never seen before, that blend with updated versions of general ideas he always works with. Heinzmann puts us in front of a fertile conversation between his new proposals and his loyalty to several questions and principles that have underlined his production all along his career.

Today’s exhibition is surrounded by a halo of mystery or suspense and counts with several resin sculptures, new versions of his Aicmo – a neologism created by the artist to refer to his perforated aluminium works – and his painted hessians.

Through them, the blunt and sharp perforations – straight and swift – in form of soft, subtle, rhythmical, paradoxical cuts on the aluminium surface, pave the way for the enigmatic, almost unintelligible messages and correspondences towards the new sculptural features that despise hermeticism and indolence and represent the most articulated part of this exhibition. The secret of these pieces of art is here, in the different articulations that conform the half transparent, colourful structure of the sculptures and their movement. Their core lies in the arms that not only could be considered as an autonomous creative representation but also as the perfect answer to the spurs in the aluminium and the hessians.