(Grünstadt 1927–2010 Buchholz in der Nordheide)
‘Stereo-Objekt STI 80/15’, 1976, titled on a paper label on the reverse, signed and dated Wilding 1976, stretched rubber bands on black coated wood strip over flet pen on paper strips, collaged, 80 x 80 x 15 cm, artist’s frame, (PS)

Provenance:
Private Collection, Rhineland – acquired directly from the artist

“The reality of the objects is extremely simple: black lines, elastic bands, white cardboard…. The reality of what one sees makes one forget the simplicity of the medium.” (Heinz Spielmann) (1)

“The technique of stereoscopic interference is based on the principle of layering gridlines to form three-dimensional structures. If the frequency of the nearest and furthest levels is adjusted so that each eye sees the image as a whole, then the impression of a three-dimensional space is created.” (Ludwig Wilding) (2)

Ludwig Wilding was already investigating apparently randomly distributed line patterns in his works as early as the late 40s, while studying history of art at the University of Mainz. His work with lines became more detailed and focused during his studies under Willi Baumeister in Stuttgart. There he grappled intensively with the modulation and constructive fragmentation of surfaces, a method of working which he retained and particularised in the following years. In Wilding’s works the illusionary spaces are formed from mere lines, initially on a single surface, and then, in later years, by positioning a transparent layer with lines over a solid layer with lines of a different aligment. The smallest shifting of the parallel lines gives the illusion of space and movement. Each observer experiences the objective reality and simplicity anew through their own movement: they must either displace the transparent film with the hand or alter the the position from which the work is viewed for the physiology of sight to adopt the illusion of space and make it reality. Physiological laws assist in objectifying the subjectivity, so that the suggestion of three-dimensionality is not only experienced subjectively, but also can be determined objectively. The objects cannot be realised without construction and rationality, yet constructive thought alone is not enough. In the work Stereoobjekt STi 80/15, the illusion of three-dimensionality is strengthened by the use of four different layers varying in thickness from 5mm to 85mm within the level of the framework. Ludwig Wilding continuously applies parallel, elongated, rectangular stripes of different widths within the rigid frame of the subject. The black elastic bands stretched over the work are set at distances of 5mm to 85mm above the pattern of lines, suggesting three-dimensional optical interference. Any variation from the system of precise geometrical technique and exact metrics can lead to a grave disturbance of the optical interference, leading to a total distortion in the visual perception of the work. Space is created simply through sight, although the eye retains its primary function of seeing. However, the reality of our vision makes us forget the simplicity of the materials being used to effect the suggestion and illusion of three-dimensionality. The success of Stereoobjekts STi 80/15 is complete, and constantly perceived anew through the observer’s own movements.

(1)&(2) Ludwig Wilding Retrospective 1949-1987, Kaiserslautern 1987, p.15 and p.139