W.M. Pühringer

Kunst am Bau - Connections


English: B. Widder

Bernhard Widder: What were your reasons to chose for this publication drawings which were done a while ago? Are the drawings for you autonomous in the sense of the drawing as a work of art, less as "architectural design," or do you follow further thoughts?

W. M. PÜHRINGER: The main reason for the selection of these drawings is that in receiving contracts, on the other hand, I think it is important for my work that I can "build" my drawings. Certainly it has to do with my education as an architect. But also I considered my earlier drawings as possible objects. In recent years I was mainly working on sketches, from which have developed drawings for the construction of the actual object. With this sort of work, I do not have the time to construct within a sheet of paper, to work on one drawing that would contain the whole idea.

Bernhard Widder: Within your work the element of "drawing" is hard to distinguish from "architectural thought." Many drawings can be read as drafted objects. However, drawing as an artistic subject seems to have a certain meaning for you, which tends into another direction than for the built realization, although the "constructive element" may be dominant. What is the part of that constructive element: does it always point toward the "architectural" or can it also be part of the drawing as a work of art?

W. M. PÜHRINGER: I think that I always have been drawing with the idea in the back of my mind that I could materialize the drawing. Partly the process of drawing has taken its own way, it has become, quite consciously, work on paper. However, the idea of realization of my drawings has always been the background of my work. This does not interfere with a certain scale that is not indicated. Scale becomes important when a drawing will be transformed into an object. To come back to architecture: I think that I noticed quite early that with my education as an architect I could not work in the way I wanted. I had to go somewhere else, into art as a deviation, that now has led me to architecture: now, with a certain scale, I am coming back to "art and architecture." Because of this compromise with architecture the contemporary drawings are sketches, from which objects are constructed within a long process. They are parts of buildings or architecture themselves.

Bernhard Widder: But the drawings that you have selected are artistic works that do not need an explanation of being possible objects, even if the thought of realization into architectural form has been constructive. Are there any sketches to these drawings? Their formal qualities are striking, they also contain inscriptions with graphic quality. What is the meaning of these texts?

W. M. PÜHRINGER: There are no preliminary sketches or studies for these drawings. If they exist, they are part of the drawing, alternating thoughts for constructions that were done on the same sheet. This was a phase when most of my work was done on paper. Thus the drawings were condensed, they were drawing and object. Concerning the inscriptions, I can hardly read them myself. The handwriting is not fictitious, but relates to the date of the drawing: it does not only refer to the drawing, but also to myself, how I was feeling, what I heard on the radio. Thus I can relate to what happens in the moment. I am selecting from that what I can notice. These inscriptions are a mystery for me, bringing me back from the trance of drawing into reality which is existing around myself, which I am hearing again from the radio. The writing has a playful side, but there is another quality that is important: writing is a different medium. Their graphic form has to do with the logic of drawing. There are a lot of examples, take Leonardo da Vinci. Drawing is an exhausting occupation - I have to check a lot, if a certain detail is right, a line or an angle can destroy the whole composition. If a line is wrong, I have to erase it. I change into writing to break exhaustion and concentration. zitiert aus: Nike - New Art in Europe Nr. 51, Seite 10/11
G. Feuerstein