Why such an infatuation? A true eyewitness of his time, Rudolf Haas’s work has universal significance. His works - Erased Images - depict real past lives “like archeology”, the artist asserts.
Led by a highly developed sense of perception, in continual alert and deeply immersed in a flow of information submerging him, he collects from the most diverse sources - posters, newspapers, cardboard. He takes them, erases them but not entirely. According to the selected type of expression - sculpture, papers, objects, installations - the form may vary but the base will always remain the same.
Just like snatches of words or phrases, he tears material, chops it, breaks it up into pieces.
Through parts, portions, divisions and sections, the artist metamorphosises an universe of traces, particles of life and memories drawn from his own experience. He succeeds in synthesising the gestual and the conceptual, swinging between negative and positive, deconstruction and construction; his erased images are collages he arranges and recomposes again and again until he finds the right harmony and only then does he start painting on them. From that moment on, they catch a new breath, they open themselves to a new life, conquer unknown territory. His work is a kind of “perpetuum”, a process of constant renewal.
Whilst his work components belong to the past thanks to the erasing process, the artist brings them back to the present. Then, so transformed and diverted from their original function, as Marcel Duchamps did, they join up with other fragments also facing the probation of time. The artist piles up and keeps everything which may inspire his imagination and his sensitivity. Then, he joins up and works these witnesses of the past mixing up poetry and energy in the heart of his solitude.
Material evidence is “Soufi in NY” - mysteriously lyrical and poetic, reminiscent of a wall mosaic. Rudolf Haas also has a highly developed sense of the right words. For instance, a three-word title will be enough to describe a monumental history including Nietzschean philosophy, the ancient oriental wisdom and a megapolis full of all superlatives. Coloured fragments, juxtaposed and piled up, each incarnating a distinct life, like the illuminated window panes of a sky-scraper rising up so high that the imagery can only take over and recount a fairy tale based on dreams and poetry: this is what Rudolph Haas’s talent is all about. He transforms a modest, insignificant thing which is accessible to all into something monumental and universal – the story of a civilisation. And amongst his works to be discovered and not be missed is The Tower of Babel. (traduction Philippe Weill)
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