Dominik Böhringer


From representation to suggestion

"The mask... a sign of the relationship of pure form to magic" (1), has stimulated many artists, including Picasso, Miró, Ball and Kadinsky to produce painting and sculpture. lt is rarer for an actor to come to fine art through mask-making.

Dominik Böhringer reduces the mask to a more or less lightly bulging circle. This simplification gives his objects the variety and allusiveness that are characteristic of works of fine art, rather than the unambiguity and direct recognizability of a theatrical prop. Instead of sticking scraps of paper on to the plaster negative at random, as used to be the custom with masks, as the positive form was going to be painted, Dominik Böhringer now uses paper with the awareness of a painter. He sticks various paper structures, which take over the function of colour like a collage in such a way that flowing tracks and painterly structures can be discerned on the positive side of the circle. Thus he creates a picture from the back and an object from the front. lt is a way of consciously challenging chance. These circles need no stage. Hanging free in the space they do not indicate any concrete action, they suggest an action space for those experience-forms that want to emerge at the point where nature touches the supernatural. Just as ‚the mask‘ is‚ a sign of the relationship of pure form to magic‘, Dominik Böhringer has made them into a sign in his objects in the same way; into a sign that points towards the search for the ritual primeval form of art itself.

Prof. Dr. Blazenka Perica

1 S. Melching. Theater der Tragödie. Munich 1974