Lukas Ulmi (Lucerna 1958) delves into a reflection on the cube that, citing one of the analytical keys of Julio González’s iron sculpture, is drawn in space. The cube is established as a blurred possibility, appearing only at one point. Spectator participation, kinetics, and visual effect are key features of Ulmi’s trajectory. The importance of the form for the sculptor is related to its behavior in space, in a dialogue that tries to force the composite vision of our gaze to force us to seek – to fix – a specific point of view from which all the lines of an apparently impossible figure that moves away from its quadrangular origins are arranged until the edges of one or more combined cubes are built. Thus, the viewer must feel the sculpture until he finds the figure, always different in each composition. The work escapes into the air between the material presence of the lines and their projected shadows, duplicating a form in impossible figures that vary as we move before them, unstable, mobile with respect to the static architecture, playing to pervert the bases of constructivism and of minimalism.
Ulmi develops his artistic activity between Switzerland and Spain, with an important body of large-format public works. His work has been exhibited both in institutional centers and in national and international galleries, highlighting “Ver Visiones” at the Center del Carme or the Cañada Blanch Award in La Nau (Valencia). His work can be found in the Norman Foster Collection, the Contemporary Art Collection of the Generalitat Valenciana, as well as in other important private and institutional collections in Spain and around the world.