“I just let the outcome be a surprise, even for myself,” says Hans Kupelwieser in an interview on his artistic process. His starting points are as diverse as the artistic media he uses: photography, swarm paintings, manipulations of media and materials, pneumatic and kinetic sculptures, reliefs, computer-aided images and many other options. When he changes from one medium to another, he often makes this change a topic of his work. In his Untitled object of 2018 he fluctuates again between the two and three dimensions, showing a flat surface that changes into an object and becomes a three-dimensional sculpture.

— Felix Kucher

“I just let the outcome be a surprise, even for myself,” says Hans Kupelwieser in an interview on his artistic process. His starting points are as diverse as the artistic media he uses: photography, swarm paintings, manipulations of media and materials, pneumatic and kinetic sculptures, reliefs, computer-aided images and many other options. When he changes from one medium to another, he often makes this change a topic of his work. In his Untitled object of 2018 he fluctuates again between the two and three dimensions, showing a flat surface that changes into an object and becomes a three-dimensional sculpture.

— Felix Kucher

When choosing his subjects, Hans Kupelwieser turns his attention to everyday objects that are only marginally significant in the world of art.  He explores their potential as exhibits and gives them a new aesthetic function. In this way, even potatoes are elevated to true-to-scale protagonists in an aluminium sculpture, in which the artist constantly explores the boundary between coincidence and artistic intervention.

— Magdalena Koschat 

The photograms produced by Hans Kupelwieser are of key significance in terms of creating new sculpted objects. He alternates the dimensions to transform objects into images and creates three-dimensional structures from two-dimensionality. Researching technical possibilities and new materials and a conceptual expansion of genre borders form significant aspects of his artistic encounter.

— Magdalena Koschat