Hans Josephsohn - On Hans Josephsohn

On Hans Josephsohn

Josephsohn's sculptures focused on the human figure as a volume in space. From the beginning of his career he worked, from the model, on sculpture's most timeless, constant themes: Representations of the human figure, standing, sitting, reclining, working on portrait heads or half-figures, made in plaster, some then later, cast in bronze.

Josephsohn's figures are bereft of any portrait-like individualization. And they stand out for their simplicity, for their being limited to the simple postures of the human body. The wish for permanence plays a key role: "My figures must be enduring in their expression, in their stance", Josephsohn said, "A narrative gesture is out of the question". His works evoke prehistory, ancient stone steles and romanesque figures.

Josephsohn's favourite working material was plaster. He found it ideal - simply it permits directness and spontaneity, both of which where necessary for Josephsohn's working process. Plaster allowed him to repeatedly add material or take it away. The directness of the work process was reflected not only in the immense vitality of the figures but even more by the traces left by this process. For example, finger imprints remain on the surface, referencing the artist's hands as it seeks to mold the material.

His artistic examination of the human figure was influenced and determined by his own experience, which for him as an artist, shaped above all by his everyday work in the studio but also by the interpersonal relations in his life. He found his models in his own personal world: They were for the most part friends, relatives - almost always women, very often his own life partner. Real persons are the starting point of this work and search for forms but his works hardly ever had portrait-like character or individual traits. Thus, also for those who knew Josephsohn's models personally, when viewing the corresponding works there is little to remind one of the individuals.