Sverre Wyller incorporates varied materials in his practice, overpainting sign boards and repurposing found objects. In his series “Signs” (Galerie Opdah Berlin, 2008), he painted on local traffic signs with acrylic; for Wyller, the signs are rich sources of associations—with speed, movement, destinations, and memories—that when removed from their original context provoke personal recollections. Looking over his production, one easily observs a primary fascination for large systems and the epic iconagraphy that is associated with those systems. One also notes the three constant form-defining factors that accompany all themes under his exploration. These are geography, duration and endurance.Wyller is interested in gesture; his sign works encourage reflection with their slow painted rhythms. His sculpture series “Miramichi”executed during a 1-year period (2009-2010) comprises dynamic, graceful sculptures made entirely from scrap materials from a defunct paper mill in Miramichi, Canada. By changing the industrial fragments features and placing them in a new context, Wyller gives them new life and new meaning. The monumental structures appear more like organic forms in the new gallery setting, contrasting the hard and heavy materials with soft lines and abstract expressions.
Installation photography: Erik Sæter Jørgensen