Alex Selenitsch (1946–)

1.
MOSTLY THINGS ON A TABLE, IN THE HANDS,
SOMETIMES ON A WALL
Small objects, related to handling.
Some larger objects, but still related to the arms/hands.
A few large installations on walls by commission, fixed in place, mostly destroyed.

2.
A4, A3, A2, A1
Sizes related to manufactured boards and papers, also standard timber, metal and plastic components.
Furniture and architecture at standard domestic scale; models at standard practice scales.

3.
MULTIPLE OBJECTS, MOSTLY IN SETS, SOMETIMES IN SERIES, RARELY IN SUITES
Typological variation.
Small works in narrative flows.
Some objects and works grouped via a functional context.

4.
PAPER/CARDBOARD/WOOD/PERSPEX/ALUMINIUM/ ADHESIVE TAPES
Easily worked manufactured materials, often used without further work or size reduction.
Simple fixings, exposed.
No apparent finishes to materials, finish and colour ‘as found’.

5.
NO PAINT
Ink, pencil, charcoal, pigment pen, chalk, liquid paper, adhesive tapes, adhesive vinyl sheet, but no paint.
Gold acrylic an exception.

6.
WHOLE SHEET COMPOSITION
Gestures derived from and refer to the whole sheet or extent of the object
Centre or edge orientation.
Often a left-to-right vectorial composition, as for reading.
Balance of dynamic movement and stasis, hard-edge/waney-edge contrast.

7.
GEOMETRIC/OBJECTIVE
Definite shapes, hard edges even when blurred.
No ‘personal’ hand/arm gestures in making; ‘objective’.
Technique that anyone can achieve, no virtuosity.

8.
ARBITRARY
Where any form could be used to the same effect, use of artificial systems of forms and divisions such as circle/square/triangle, simple number sets, sometimes Fibonacci series.
Found objects and fragments used as stencils.

9.
FOUND OBJECTS
Ordinary objects interfered with to deny their usual function, shifting them to a semantic zone.
Treatments often through some taboo action.

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Alex Selenitsch
January, 2025