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Stemmers
The networked spheres and interdependent multifaceted structures found in each sculpture suggest a multitude of processes and phenomena in the natural and built environment. While their forms clearly follow basic laws of economy and self-organization found in adaptive bubble structures, there is also an intended association to organic cell clusters.
With an emphasis on the most fundamental form of autonomy—the Membrane: both a barrier and communicator between the self and the environment—Fried suggests an abstract embodiment of the origin of life-forms - natural or engineered.
Their forms appear in an undifferentiated yet fertile state—like a Venus von Willendorf at conception—full of potential, ready for chance, influence and self-determination. Anti-fragile balancing acts operating far from equilibrium - individualities in an interdependent process of becoming.
In Fried’s mirror polished stainless steel versions, we see the environment and ourselves reflected in the faceted surfaces, absorbed 360° by the sculpture. Its appearance is integrated with–and largely defined by its environment, hinting that one‘s sense of identity is a complex development of ‘nature and nurture’.
The sharp networked angles formed by intersecting spheres of varying size result in dynamic shapes that in spite of their clean mathematical origin appear biological, and seem to possess an abstract yet curiously personal character.
Fried coined the term ‘Stemmer’ as a personifying name for stem-cell creations. Currently the stem-cell is the most promising yet controversial, programmable, self-reproducing building-block on a cellular level, which in the hands of the genetic engineer, has become the absolute malleable ‘bio-porcelain’ of choice at the turn of this century.
As in many of Fried’s other works, the artist presents us with minimalist symbolic imagery that suggests a fusion of mythological and scientific beliefs, while calling attention to the manipulative processes that are now deeply rooted in our cultures. By resurrecting and modernizing humankind’s oldest fertility icons—in an era whereby applied technologies are trumping the oldest form of reproduction and evolution—with fertility icons of a synthetic nature, Fried confronts us with our desire and ability to alter nature’s course, and perhaps the future of our own evolutionary process.
For single sculpture views: Link
Zentrum Paul Klee, Bern, Switzerland: "Genesis - The Art of Creation"
2008,
View: David Fried, Bruce Nauman, Antony Gormley.
"Chance Matters' solo at David Behning Contemporary Art, 2023, Duesseldorf
"Chance Matters' solo at David Behning Contemporary Art, 2023, Duesseldorf
Stemmer,permanent installation, 2024, Duesseldorf
die grosse kunstausstellung, museum kunstpalast duesseldorf, 2015.
Galerie Noack, Monchengladbach: "Neorder", solo exhibition
2007.
Troner Art, Duesseldorf: "Changes"
exhibition 2011.
Spam Contemporary galerie, Duesseldorf: "Spheres of Influence", solo exhibition 2013.
Spam Contemporary, Duesseldorf, solo exhibition
2013.
Domink Mersch Gallery, Sydney, Australia:
"Position Probable", solo exhibition 2009.
Galerie Kasten, Manheim: "Living
Variables", solo exhibition 2007.
Galerie Baumgarte, Bielefeld, Germany,
solo exhibition 2008.
Troner Art, Duesseldorf: Stemmer, T1, 2009.
Troner Art, Duesseldorf: Stemmer, T1, 2009.
Gallery Sara Tecchia NYC: Stemmers, 2009.
Tabletop Stemmer Selection:
Stemmer, G15-01, 2015, 20 x 20 x 25 cm. PLA, resin, stone, laquer.
Stemmer, G15-02, 2015, 17 x 20 x 22 cm. PLA, resin, stone, laquer.
Stemmer, G15-04, 2015, 11 x 12 x 15 cm. PLA, resin, stone, laquer.
Stemmer, G15-03, 2015, 13 x 14 x 18 cm. PLA, resin, stone, laquer.
Stemmer, G15-05, 2015, 11 x 12 x 15 cm. PLA, resin, stone, laquer.
Globalexandria - stainless steel sculptures
Three-dimensional constructions of mirror-polished stainless steel spheres and intersecting rods colonize a wall in a loosely organized manner, or grow from the floor into free-standing networked structures—swarms of mirrored orbs that physically support and reflect one another’s position in synoptic play.
Fried’s spatial ‘Globalexandria’ objects derive their essential skeletal forms from the systems thinking information age in a gestural way. One immediately gets a sense of motion as we look to connect the dots, perhaps in search of some nonsensical sense, while noticing that as we project our own synaptic perspective into the network. We can see our position reflected in all the spheres simultaneously, and in each sphere we also find an endless rerflective feedback of all their positions.
These sculptures are inspired by the information age, connectivity on a global scale, the creation of highly relevant positions through networks, and how such internalized systemic approaches change our perceptual habits, and by daily use, even our core beliefs. Fried reflects on the phenomenality of these dissipative networked structures, which thrive on input, emergent complexity and feedback.
The title is a hybrid of Global and Alexandria. Since the fall of the ancient Egyptian library by localized fires, our entire information age has evolved into a decentralized structure—though just as vunerable via corruption of data or systemic failures—that has significantly democratized knowledge and liberated communication largely regardless of geography or class. Our way of thinking is changing as well. Certain tools throughout the ages have fundementally altered our approach to problem solving and eventually seeps into our philosophies.
From cave paintings to cuneiform to binary code, our languages also evolve with our tools. And while literacy in code is becoming more widespread, conversely, encryted data becomes more complex and exclusive. Oddly, we are the first civilization to purposely design a language that no human—even geeks—can decifer with their own senses.
Navigating
such rapid technological advancements—where the only constant is constant
change—we can get stuck using old ingrained maps and rules. We don‘t
have thousands of years to master these innovations like a hand axe. Fried
questions if our common-sense philosophies and perspectives can develop
as keenly as our technologies to narrow a wisdom-gap in the making. Like
art lives from breaking borders, even in the face of big-data, we have never
had a more empowering tool to explore and share our freedom of expression,
innovation and visions.
Globalexandria, 2011, mirror polished stainless
steel, tranlucent powdercoat. 600x350x150 cm.
Globalexandria,
GA5, 2013, mirror polished stainless steel, 166 x 140 x 31 cm.
Globalexandria, GA5-13, 2013, Museum Kunstpalast Duesseldorf, 2015.
Globalexandria,
GA5, 2013, mirror polished stainless steel, 166 x 140 x 31 cm. (Detail)
Globalexandria,
GA1-13, 2013, mirror polished stainless steel, 180 x 130 x 21 cm.
Globalexandria, GA-W7-18, 2014, polished stainless steel. 65 x 29 x 70 cm.
Globalexandria, GA-W8-18, 2018, polished stainless steel. 62 x 18 x 75 cm.
Globalexandria, GA4-11, 2013, polished stainless steel. 53 x 53 x 19 cm.
Globalexandria, GA1-15, 2015, stainless steel. 200 x 162 x 26 cm.
Globalexandria, S4-16, 2016, stainless steel, lacquer, 13 x 16 x 7 cm.
Globalexandria, S1, S2, S3, 2016, stainless steel, lacquer, ca. 18 x 28 x 9 cm.
Globalexandria, S6-13, 2013, stainless steel. 28 x 19 x 41 cm.
Globalexandria, S5-13, 2013, stainless steel, 40 x 33 x 24 cm.
Globalexandria, S1-11, 2011, polished stainless steel, 70 x 104 x 175 cm.
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