"These faces are beyond any personal suggestion, are only portrait-like in rare exceptional cases, rather they approach a kind of ideal image, appear as secular objects that serve an unknown cult. They come from far away, like the stones from which they are carved.(...)
With the fieldstones, Peter Makolies has reassured himself of his beginnings, he has at the same time immersed himself deeply in the history of art and images and has opened up a further dimension of monumental simplicity to his work."
- MATTHIAS FLÜGGE - in the exhibition catalogue
"Not much has changed in sculpture over the last twenty thousand years. Images are still being carved in stone that are in our image. Our knowledge of all the things that others have already done is a burdening experience." Only a few are able to rescue the unencumbered values of childlike drawing into life. Perhaps the circle is complete when the end is like the beginning. If we assume that mankind and nature will still perish, then there is justified hope for the sculptor that later creatures will rummage through the rubble of our good old earth in search of signs of the past... New Winckel and Schliemänner will find what has survived the downfall. They could be stones carved in the image of lost humanity, and they will think about what it was like back then. "
- PETER MAKOLIES -
Catalogue "Erste Phalanx nedserd", Nuremberg, 1991
The special feature of our current catalogue is that, almost without exception, Peter Makolies himself produced the photographic images of his sculptures for it, thus allowing insights into the artist's perspective on his own work - " ... then photography itself becomes sculpture, as has happened here in Makolies' austere black and white images."
- MATTHIAS FLÜGGE - in the catalogue
Catalogue
A catalogue was published to accompany the exhibition.