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2018  CATHERINE FASSBIND
          EXHIBITION ASCONA   PDF >

2018  PETER KILLER
          GALLERY OPENING ZURICH  PDF >

2017  CULTURE AWARD SCHWYZ  PDF (German) >  (S. 1+3)

2016  SILVIA CAMENZIND
          SATURDAY TALK  REVIEW (German) >

2016  PETER KILLER
          GALLERY MEIER, Retrospective
          TO HIS 80TH BIRTHDAY  PDF >

2016  TRUDI VON FELLENBERG-BITZI  
          BORN IN ILLGAU    PDF >

2011  PETER KILLER
          ARTIST PORTRAIT  PDF >

2009  BARBARA BACHMANN  
          Art in the clinic   PDF >

2002  WALTER HINTERMANN 
          Hieroglypic writings   PDF >

2000  WALTER HINTERMANN 
          The abolition of time and space   PDF >

1996  DR. STEFAN PARADOWSKI
          The re-invention of abstract painting   PDF >

1992  MARKUS BAMERT   
          Oberhus Greppen  PDF >

 

2018 Catherine Fassbind

ALFONS BÜRGLER Following an experimental phase in the field of abstraction and figuration, Alfons Bürgler found his characteristic visual language in the 1990s: paintings, drawings, graphic prints and painted wooden objects entitled KÖRPERSCHRIFTEN. These works depict parallelly arranged and stacked abstract human figures in various poses. Sometimes flat, sometimes graphically set on the pictorial medium, Bürgler’s human figures dance, gesticulate, embrace, bounce or shake hands. In certain works more than one thousand figures bustle: “Although he brings many figures together in his pictures, they cannot be treated as a mass, but as a community. Each single figure […] is a bundle of energy expressing its excess of power. Of course, not in an aggressive way” (Peter Killer 2008). Bürgler’s KÖRPERSCHRIFTEN emerge from the repetition of the human figure, but without a regular pattern. They remind us of hieroglyphics due to their stylized execution and arrangement in rows. The human being is also the focus of Bürgler’s BAUMFIGUREN which he began creating in the beginning of the year 2000. The figures possess the character of a modified “objet trouvé”, and can be interpreted as three-dimensional executions of his KÖRPERSCHRIFTEN. Bürgler finds his material at the edge of woodlands. The artist takes bush and tree branches, rotates them 180 degrees and then forms figures with humanlike features with a saw and pruning shears. Some of the BAUMFIGUREN are monochromatically painted and have a height up to three meters. They interact with the viewer as a single figure, couple or group, standing tall or inclined, fragile or stable, dancing, communicating or in silence. For his figures – small-scaled ones exist also as sculptural work in bronze – the artist founded the BAUMFIGUREN gallery in 2007: a private museum open to the public in Steinen, Canton of Schwyz. Alfons Bürgler was born in 1936 in Illgau, a village in central Switzerland, and has worked for over 30 years as a freelance artist. After finishing an apprenticeship as a tailor, he attended the Schule für Gestaltung in Lucerne and the Neue Kunstschule Zürich. Since 1969 Bürgler has regularly participated in solo and group shows in Switzerland and abroad. In addition, he has implemented various architectural art projects in private contexts and public spaces, such as for the Hirslanden hospital St. Anna in Lucerne (2007–2012) or the OBC Suisse in the Europaallee in Zürich (2014).

 

2016 PETER KILLER

Peter Killer Director of the Olten Art Museum 1983-2001 Art critic AICA

Alfons Bürgler in the Gallery Meier - congratulations! In the bright rooms of the new Gallery Meier in Goldau - probably the largest private gallery in Switzerland - Alfons Bürgler shows a broad overview of his work over the last forty years. Half a year ago the versatile and vital artist turned eighty. We can congratulate him afterwards on his birthday, but also - and especially emphatically - on his outstandingly successful retrospective. Works from four decades, namely drawings, watercolors, paintings, and tree figures - how could it be any different than that very different, contrasting works come together? The gallery owner Helmut Meier succeeded in combining the disparate into a beautiful, accentuated harmony. He deliberately refrained from a chronological arrangement. Alfons Bürgler is a natural movement, embodying an unusually intense joy of life. He still loves to dance passionately and travels a lot. He brings home drawings and watercolours from his travels. Dance has remained the main theme of his panel paintings to this day. Usually there are dozens, sometimes hundreds of pairs, which he rows next to each other, painted with a brush or drawn into the wet paint with the end of the brush. His small and large three-dimensional goblins, with which Alfons Bürgler has made a name for himself as a sculptor, are also in motion. They have nothing to do with sculpting. Alfons Bürgler did not need chisels or carving knives to create these figures. But he cut them out, with the help of a saw, from small trees and trees in hedges and at forest edges, where they should have been cut down or thinned anyway. Since nature pursues other purposes than producing bipeds, which Alfons Bürgler can exhibit, the artist must abstract his forms in the maze of branches. Only an artist's eye is capable of discovering figures in the multitude of branches and little branches. Alfons Bürgler had many of the often very fragile figures brought into a form lasting for centuries by highly qualified bronze casters. They are so well cast that they can hardly be distinguished from wooden originals. The fact that the theme of "movement" occupied the artist long before his "dancers" and his tree figures can be clearly seen in the exhibition. In the nineties, he created non-representational drawn and painted works with dense traces of movement, which he condensed into interesting structures in a spontaneous but long work. Alfons Bürgler attended several design courses and art schools many years ago. But the trained tailor is ultimately self-taught. A professional art education often holds the danger that role models could obstruct one's own personal path. Alfons Bürgler, on the other hand, is unmistakably Alfons Bürgler. You can see for yourself in this exhibition.

 

2011 PETER KILLER

(Peter Killer, born 1945 in Zurich. Education as a primary school teacher. 1969-1973 Coeditor of the magazine "du" alongside Manuel Gasser. 1974-1994 freelance art critic at the Zürcher TagesAnzeiger and exhibition organizer. 1983-2001 Director of the Olten Art Museum. Since then freelance, lives in Olten. - Numerous book publications on the subjects of art, folk art, architecture, but also on various aspects of cultural history.)

Alfons Bürger – love and play Anyone invited by Alfons Bürgler to his apartment at Herrengasse 11 in Steinen will get to see much more than in his tree figure cabinet and in his studio. More works of art, his own and those of his colleagues, found objects that he brought home from his hikes and orange, lemon, apple, carrot, cucumber, peach and other bowls that he skilfully cut and dried. (These bowls have become the subject of a beautiful photo series.) His art and his everyday life are marked by a deep love of nature. The small garden, his balcony garden and the many things that forests and meadows offer him in food and tasty food make Alfons Bürgler largely self-sufficient. "Ohalätz": Whoever does not know Alfons Bürgler has a completely wrong idea after reading the first paragraph, thinks of a sectarian ecofreak, a herbal man - Alfons is also a passionate and excellent tango dancer, has travelled the world and is socially well connected, radiates cheerfulness, wit, even wisdom. The psychoanalyst, social psychologist and philosopher Erich Fromm (1900-1980) distinguishes two basic human character structures: the biophilic and the necrophilic character. "Most people are individually distinct mixtures of necrophilic and biophilic orientations, and it depends on which of the two tendencies dominates. Alfons Bürgler is on the biophilic side to an unusual degree. Erich Fromm defines biophilia as "the desire for growth, be it of a person, a plant, an idea or a social group. The biophile prefers to build rather than possess. He is capable of wondering and prefers to see something new rather than find confirmation of the old. He wants to shape and influence through love, reason and example, not through violence. Because he loves life and all its manifestations, he is not a passionate consumer. He has his own principle of good and evil. Good is everything that serves life. Good is respect for life, everything that promotes life, growth, development". Another basis of Alfons Bürgler's creativity is his play instinct. In the standard work on the subject of "play", in "Homo ludens - vom Ursprung der Kultur im Spiel" by the Dutchman Johan Huizinga (1938) one reads: "Whether one thinks of the sacred or magical dances of the primitive peoples or of the Greek cult, of the dance of King David in front of the Ark of the Covenant or of the dance as a festive amusement, one can say in the fullest sense of the word that dance itself is play, indeed that it forms one of the purest and most perfect forms of play". Dance has long been a main theme of Alfons Bürgler's art. This applies to the tree figures - and also to the two-dimensional works: the figures, which the artist paints and draws in ever new ways, not closing himself to any technical experiment, are never motionless. They gesticulate, dance, jump - and in spite of all their exuberance they do not get in each other's way! In this community in which they find themselves, it is good to be. According to Huizinga, the game is "outside the process of immediate satisfaction of necessities and desires, yes, it interrupts this process". The purposeless playing is a cultural achievement. So Alfons Bürgler should actually include in his fictitious œuvre catalogue the many sand and snow castles that he built, his snow caves, labyrinths and installations, as well as his giant pine worms made of snow. The same applies to his collection of algae balls, the nest of reed with snowballs as "eggs", and the numerous spontaneous sculptures made of stones, branches, waste iron, and other materials. That there are no photos of most of these works is clear from the definition of the game. "The game has its course and its meaning in itself" (Huizinga).

 

2009 BARBARA BACHMANN

Bachmann, social worker Text on Art in the Psychiatric Clinic Zugersee

Already discovered? Artfully lined up on the wall - below in the entrance area of level 3 - the 16-piece work by the Schwyz painter Alfons Bürgler receives us carefully hung up. He gave it the title: Stories that have gone astray over the course of the year. Inspired by his characteristic body writings, painted with oil paints and ashes on wood, I tried to approach his series of pictures poetically: „Es ist Winter, wenn der Frühling uns erwartet – der Sommer Hoffnung verspricht, der Herbst uns mit seinem laubigen Kleid empfängt und wieder ein Jahr unseres Lebens Geschichte geworden ist." Alfons Bürgler triggers a sense of time in me with his body writings. His characters contain no secrets, like the Egyptian hieroglyphics. Rather this stringing together of the picture objects, i.e. the body writings conveys a feeling of something ancient and at the same time contemporary. Just as Alfons Bürgler's figures meet, standing alone, in twos, in threes - hooking, embracing each other or walking their way - man, woman - women and men on the way to their story, so they tell of moments in life as we know them. This work of art accompanies us employees of the Psychiatric Clinic Zugersee into the everyday working life - or out again. Not far from here, the clock is sensibly attached to the wall. But it was there before and counts our time: day after day, week after week... and year after year. She cannot tell - about all the liveliness and the many moments in working life - the encounters with the patients and colleagues who interweave to our own work history. In 2009, Alfons Bürgler worked as an art project supervisor with the patients to create small and large picture worlds as part of an art project. They can then be seen in the series following his works. Alfons Bürgler deliberately wanted his pictures hung next to those of the patients. How typical for him, who in his encounter with the individual touches through his power of perception, kindness and solidarity. I am very pleased that we have the meaningful, 16-part work of this talented and great artist from Innerschwyz in the clinic - to be able to enjoy these journeys through the year.

 

2002 WALTER HINTERMANN

Walter Hintermann, born 1942 in Zurich, was an art teacher and teacher for visual design at the Cantonal Teachers' Seminar in Rickenbach/SZ.

About the pictures "Körpererschriften" from the years 2001 and 2002 Alfons Bürgler's works in oil, acrylic and ink live mainly from signs and figures in motion and are reminiscent of hieroglyphic writings. The artist calls this type of painting "body writing" and creates a new pictorial language with this special art. The colour Alfons Bürgler's latest pictures live primarily from the monochrome surfaces whose radiance fills the entire room. They trigger a feeling in me that is initially indefinite, which, after intensive perception, can give way to a very specific mood: A restrained, bright, slightly broken blue radiates clarity, firmness and "happy beginnings", a large, soft yellow surface fills the room with a spring-like, active atmosphere of departure. Other surfaces act as a challenge. An intense blue calls for a decisive statement, an almost nocturnal yellow-green calls more for an emotionally charged memory or for an observer who can endure strong feelings. The fascination of such picture surfaces arises from the way the artist constructs his pictures. It is usually several layers of paint that have been painted more or less transparently on top of each other. A layer of paint underneath influences the layer above. Alfons Bürgler often leaves a primed picture in his studio for a long time, checks the effect of a colour and then paints it over several times, depending on his sensation. He also experimented with the most diverse colour materials and design possibilities and thus achieved the most diverse pictorial effects. Colour and shape The picture surfaces are covered as if by a kind of writing or picture writing. These "craquelures" are often carved into the still moist uppermost pictorial font. This also makes the underlying colors visible and thus contributes to the subtle color effect of the entire image. The close connection between colour and form, between the picture surface and the engraved or painted signs, makes up an essential part of the intense radiance of the pictures. This creative effect is achieved by the fact that the artist intuitively and often consciously incorporates the spaces in between as design elements. He strives for a harmonious tension and balance between figure and ground. Stelae and hyeroglyphs The signs sometimes appear as writing, sometimes rather as a picture narrative. But their effect is always connected with the impression of trance, of "écriture automatique": Together with the coloured ground, a surprising message hits me. It seems to me like fragmented messages from an ancient culture. - Are they scribblings of children excavated at a historical site and practicing a sign or pictorial writing? Do we encounter ancient toboggans, weathered by the influence of sand and heat, from a prehistoric high culture on the Euphrates? Don't the small-format, elongated wooden tablets with their writings remind us of scribbled wax tablets from Roman times? Even the over-man-high, narrow steles, with their frontal orientation, look like ambassadors from a long-since sunken culture. When dancing figures are recognizable on them, they remind me of painted walls in Etruscan tombs, others remind me of Egyptian hieroglyphic writings, which bear witness to the happy, plump life in this world and in the hereafter. Dynamics and Meditation The signs on the steles and pictures are similar to each other, but none is the same as another. They often symbolize people in motion, and a strong dynamic emanates from them. Sometimes a line of dancing or moving figures suddenly turns into abstract and coded symbols that suddenly appear again as letters, numbers, landscape or architectural elements. Alfons Bürgler does not want to address a particular message to the viewer. Once the basic colour mood of a picture has been determined, he brings himself into a state of absolute relaxation and concentration. In this difficult equilibrium and in an openness to what is going on inside him and with every brush or scribble stroke on the picture surface, he lets an image happen. While painting, he not only dances pictorially spoken in front of the canvas, but also transfers the perceived impulses to the picture surface in a very real way, in fine rhythmic and dancing movements. An old element from Bürgler's oeuvre suddenly regains importance: the element of repetition or automatism, the connection of the material with the spiritual.

 

2000 WALTER HINTERMANN

from the monograph, pp. 138, 139, 140, by Walter Hintermann

The abolition of time and space Moments of timelessness. We sit on the seashore, our feet in the water and look into the waves. We do nothing. It is enough for us to feel, to smell, to see, to hear and to surrender to the even rhythm. Lost in thought we look at the whirlpools that form on our heels as the water flows away, enjoy the fine ripples on our toes each time the water flows back, let ourselves be lulled by the even, swelling up and down sound of the water, do not notice that it is thinking or fantasizing about anything in our heads, lose time and consciousness of the present space. Was it not earlier in the railway the uniform Ratetah, Ratetah of the wheels on the rails, which became louder and louder and more dominant and put us to sleep or almost into a trance, into a state of loss of time and space and conscious thinking? There are many more examples: Perhaps we remember the litanies on May evenings in the village church, the rhythm of breathing and running while jogging, the exhilarating feeling that can arise while dancing, if we always surrender to the same rhythm, the entrancing power of drum rhythms, the weighing and singing of mothers who calm their babies. Almost all religions of all times and cultures contain more or less many forms of rhythmic activity. All of them seem to have a sense and a goal, namely the attainment of a trance state, which should enable people to connect with the supra-rational or the transcendent. Many meditation techniques are based on the principle of regular rhythms or contain elements of them. These elements are always the same: A gesture belongs to it, a movement, which shows itself as breath, as dance step, as sound, sound, word, action or sign, and the elements repetition and regularity. The representation of transcendence in the form of the suspension of time and space is a major theme in the visual arts. From a historical point of view it can be seen, for example, in ornaments on stones, stone crosses or even in parts of book illustrations. This includes ornamental designs of Islamic sanctuaries as well as repetitive elements on Gothic cathedrals. Vincent Van Gogh unterwirft sich mit seinem ausgeprägten Pinselduktus ebenso dem Diktat der Repetition wie Adolf Wölfli, der ihm zwingender und ausschliesslicher ausgeliefert ist. Ausserdem wird diese Thematik in sehr vielen Werken der zeitgenössischen Kunst sicht- und spürbar. With Alfons Bürgler the above mentioned elements are easily recognizable in the abstract pictures. These often contain regular orders of signs, which, however, can still be read as image structures and individual signs (Figs. 122, 125, 126, 127). The drawings on page 142 clearly show how the repetitive element sometimes takes over. It is due to the pencil with which the artist can continue to scribble without stopping. The discovery of this process leads to further attempts, which are continued for hours and driven so far that an impenetrable surface structure is no longer visible, but an image with depth and transparency (Fig. pages 146 - 153). Another type of further development results from the structures that automatically arise from the accumulation of the same movement. A pattern is formed, which in turn animates the removal of forms and their transformation into an exciting structure (Fig. pages 154 - 157). The meditation into which the artist immersed himself during the making of the picture causes the picture surface to radiate a strong, spiritual presence: the transformation of time and space into a picture has succeeded..  

 

1996 DR. STEFAN PARADOWSKI

by Dr. Stefan Paradowski, art historian - on the occasion of an exhibition at Galerie Meier, Arth, 1996

The re-invention of abstract painting He outsmarted most of them. He hit a hook and dropped into the void those who wanted to ban him to the reservation of watercolours. He made an artistic escape and arrived in the land of acrylic painting. He is now in a place where he is hardly suspected, but completely at home and once again ready to take a new artistic leap. From image to abstraction The change of technique is accompanied by that of the wearer: the new works are not painted on paper, but mainly on linen or canvas. But this is not the most obvious and essential change: That from the image to the self-image, from the representational to the non-representational. The model is no longer an excerpt from the real world, but the unbound round dance of colours and forms now enjoys priority. Lawfulness of adventure Alfons Bürgler has walked the path of abstraction for the last four years. A crosssection of this creative phase is exhibited. The refusal to produce identifiable pictorial content made him neither helpless nor crisis-prone. On the contrary. The artistic search for new territory triggered a creative thrust. The application of painting's own resources produced a tremendous productivity. The temptation is obvious to equate contact with abstraction with a wild adventure. Behind the seemingly unrestrained diversity of the new acrylic works, however, lies a certain consistency, even regularity. Character in the ball of dashes It began with many pen strokes. Alfons Bürgler confided in an experiment without knowing its outcome. He speaks of "meditative drawing". The Surrealists would have talked about the "écriture automatique". He produced a multitude of leaves with scribbles, with balls of sticks. From overlaps and superimpositions of the lines, it was possible to read out randomly formed shapes. At some point, Alfons Bürgler emphasized the abstract figures from the existing group of forms. He intuitively distributed the distilled signs over the entire surface. A new pictorial reality, a new painterly possibility based on ground and figure was born. Variations of the vocabulary Through this process Alfons Bürgler developed a kind of method for all further artistic explorations. Above all, it was necessary to translate the newly gained knowledge from the medium of drawing into that of painting. The factor of colour was added and the spectrum of expression enlarged. Now the vocabulary could be used in any variation. Colour matter and calligraphy To put it simply, Alfons Bürgler's pictorial production is subject to a twofold procedure, which of course is not purposeful, but subject to the risk of the unpredictable. He begins to paint a surface, perceives it as a field that has to be ploughed over and over again. Each time, the matter of colour produces a different constellation of planar elements such as spots, voids, overpaintings, etc. In additional steps, this time in dark or black stroke forms, he sets calligraphic accents, separates color areas or emphasizes their edges, creates dots or hatches, creates closed or open figurations. The strokes paraphrase, i.e. play around the colours. Language and mood The color matter and especially the linear interventions characterize the picture character. Each work has its own language and mood. Sometimes the compositions are spontaneously labyrinthine, sometimes almost systematically set down, sometimes more angular or round, sometimes mainly loosely or densely arranged. In any case, the pictures are the fruit of a dictate of discoveries made during the act of painting. Not appropriation, but invention Piet Mondrian, a pioneer of modern painting, detached himself from his academic naturalism by aiming for an incomparably strict pictorial order in a dramatically consequent process. His contemporary Wassily Kandinsky mentions the "desperate lines" and the "inner sound" that are essential to modern painting. Alfons Bürgler speaks of an "inner writing" that led him into a new realm of art. In his own way, he thus imitated the turn to non-representation. He did not simply acquire abstract painting, he lived it through and personally reinvented it. Loyalty through change Alfons Bürgler should have known that he would not let himself be restricted, as he once explained: "It is far from me to commit myself to a technique or a topic. In this sense, he also remained true to himself with regard to the current exhibition. There are not only pictures of the kind mentioned above. He has been a freelance artist since 1984 and is one of the very few in Canton Schwyz to have made art their profession. It is not up to him to maintain an artistic position he has once found as a trademark. The material paintings created last summer also bear witness to his changeability: The handmade paper includes stalks, twigs, parts of lights and other things. There would also be a lot to say about that...

 

1992 MARKUS BAMERT

Markus Bamert, art historian, Schwyz Introduction to an exhibition by Alfons Bürgler in the gallery Oberhuus Greppen August 30, 1992

Dear Ladies and Gentlemen Dear Alfons I have been following Bürgler's work and career for over 10 years. This development is quite interesting for a quiet observer, but in principle also well comprehensible. Alfons Bürgler ventured to become a freelance artist quite early on. After an apprenticeship as a tailor and subsequent commercial training, he worked for several years 50% in an architectural office as an accountant. The rest of the time he reserved for himself for painting and designing. For years he was almost exclusively concerned with the expressive possibilities of watercolours. In these years he created countless fine works. His model was our native landscape, but also flowers, people and animals. Alfons Bürgler trained his eye in these watercolours, which are strongly committed to realism. When I speak of realism, however, I do not mean exactly painted reality, but a strongly implemented one. To put it simply, the painter sees in reality what he wants to see. He picks this up and puts it on paper. On the one hand this can be form, on the other hand it can also be colour. Only in this way can a landscape be captured in terms of mood. Alfons Bürgler experienced an essential step in this learning to see in Morocco. In the Moroccan landscape he got to know light and incorporated it into his paintings. But the occupation with the landscape has also led to low blows, to pedalling at one's own place. In many works, which were created 4 - 5 years ago, one feels the search for new ways, for new possibilities of expression. Alfons has continuously worked his way up the road. Great diligence was necessary. All too great was the danger of continuing to work the old way, especially as he was able to achieve quite a great success with it. The other danger consisted in jumping away from a walked path and falling for the experimental. Today's art scene runs the risk of raising the unprecedented to heaven, unasked whether quality or serious work is behind it. The flash in the pan is in demand and under discussion. Alfons Bürgler did not succumb to this temptation. Rather, he has sought a way out of his continuity, successively and honestly towards himself. A flight over the landscape of Mexico can certainly be regarded as a core event in its long-term development. Suddenly the landscape presented itself to him in its geometric spread, fields, rivers, forests, steppes that line up next to each other. This experience gave him a new perspective on the landscape, which he has used in some of his paintings. The colour gains dominance, the form becomes simple and recedes. From these works, which were also exhibited at the Schwyz art scene a year ago, the path leads continuously to the works exhibited here. At the same time, however, watercolours have been created that continue his tradition. However, one cannot speak of parallel paths if one first observes how the artistic development proceeds. Alfons Bürgler regards his watercolours in particular as studies for brushstrokes. The watercolour requires precise, fast working and highest concentration. A revision is not possible, because a once set brush stroke cannot be corrected, if the picture wants to keep its freshness, its luminosity. But now to the abstract and abstract works exhibited here: All these pictures are a result of the intensive search for further development. Alfons Bürgler looks for new forms and possibilities of expression in large-format pen drawings. In addition, he strives to condense the intensity from sheet to sheet with the simplest of means. He then picks out individual forms from these sheets and transforms them into colour. These leaves are characterized by a great regularity of the picture surface. The tension is evenly distributed across the sheet. Thus they also radiate a great tranquillity. The tension, on the other hand, is to be found in the inner forms. Small figurines of different shapes scattered in a uniform surface are lined up next to each other, often framed with dark charcoal. These forms can be viewed positively on a coloured background. At the same time, large-format pictures were created on paper, which show the same regularity over the entire picture surface, but which are considerably refined in their overall expression. They are abstract, painterly surfaces, one can hardly speak of forms any more. Due to their fineness, these leaves acquire a fabric-like, textile, wallpaper-like quality. However, when viewed from close up, the finest surface treatment with a pen gives the watercolour structure. Recently Alfons Bürgler has continued this technique. He created smaller square pictures on canvas, but not on primed painting canvas, but on ordinary used sheets that he tore into pieces. He prepared these pieces of canvas with paint, painted them, washed out the paint again; the frayed edge remains. Alfons Bürgler has made his mark on these prepared canvases. He uses very different techniques, watercolour, gouache, acrylic but also charcoal. He adopts the lack of direction of the previously described pictures. They are not worked out to a fixed or climax, but the signs regularly spread over the whole piece of canvas, even they seem to continue beyond the edge. The unfinished edge of the canvas reinforces this impression. Suddenly there are again references to the landscape, but now they are quite different from the watercolors, much more emblematic, atmospheric, symbolic. But we also find small figurative elements interspersed.  This gives these images a strong compactness and coherence that makes them appear larger than they actually are. In addition, they combine their statements, depending on whether they are viewed from a distance or at close range. The different colour intensity contributes significantly to this expression. The calm, washed-out background contrasts with the pastily applied foreground. This also creates a depth of image, but without using perspective. As you can see, ladies and gentlemen, the artistic work of Alfons Bürgler has undergone a strong development in recent years. However, as already mentioned, this development is not erratic, but continuous. Alfons Bürgler's pictures will certainly not become easier to understand, but they will become more expressive. They offer the viewer the opportunity to spend more time reading what he wants to see in a work without overinterpreting it. I wish you much pleasure in looking at the pictures, and to you, dear Alfons, I wish much happiness and perseverance on your way, above all I wish you that you can continue on your way, continuously and not erratically. Markus Bamert, art historian, Schwyz

 

 

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