His studies under Joannis Avramidis were certainly pivotal for Florian Schaumberger. Movement, dynamics, and expansiveness are typical of his figures. But in complete opposition to Avramidis, Schaumberger’s starting point is prefabricated material.
From these hints at the figurative, however, Florian Schaumberger arrives at complete abstraction.
While he began working with profiled pipes – the resulting objects showed a certain likeness to architecture – he now works with steel plates. In his personal smithy, the metal sheets are taken apart and the fragments reassembled into new structures.
When looking at these objects, without realizing their specific aesthetic quality, you suddenly become aware of plant-like forms suggestive of tree trunks, ripped-open bark, bruised nature.
This is an expression of the artist’s proximity to the nature he lives in. And no matter how much he enjoys it, any abuse of and careless attitudes towards resources make him both angry and sad.
He expresses these emotions through his work. Fragments and surfaces are cut, bent, broken, and slashed open, reassembled into powerful sculptures.
Titles like Aggression and Violence reinforce the observer’s impression of impermanence and a feeling of powerlessness.
Remembered images of past cruelties resurface in a series of panel paintings. They, too, reflect the events surrounding us. The results are small sculptures 20 to 30 cm high, which feel monumental nonetheless. They can be transferred into massiveness, as for instance the sculpture in front of the Austrian National Bank or the Monument to the Executive on the Viennese Heldenplatz.