Since the major retrospective exhibitions in 2005, Georg Herold's work has undergone enormous changes. His often misunderstood handling of the material wood or the roof batten has been changed so considerably by the artist that it becomes even clearer: he has never been primarily concerned with the use of the so-called more pauver materials, i.e. with proving that art can emerge from "simple" materials. Even the manifold canvas works with bricks or caviar have actually refuted this interpretation. However, Georg Herold has always used ironic titles to create pitfalls for the viewers, because in his opinion nothing "can be conveyed through narration if it is not to become completely boring". And so in recent years he has taken a radically different path without becoming narrative. From simple roof battens with their possibilities of being a holder, frame or placeholder for something, they now become components of an energetically charged sculpture: the new figurative works that are completely formed from battens. Regardless of whether a tightly stretched "outer skin", i.e. a custom-made shell, is used, or whether the gaze falls on the construction itself, here the latte is used in its full right as an artistic means. The artist also sees that another big step has been taken: "Beauty was never the goal, but one tries to develop and implement a special technology, and suddenly one notices that beautiful things can be created. The collector couple Brandhorst have been collecting the multiples since the 1980s.

Published on the exhibition Georg Herold: Multiple Choice at Museum Brandhorst, Munich, April 19 - September 2, 2012.