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The Intersection of Nature, Myth, and Craft: Robert Elfgen’s “Utopisch” at Sprüth Magers Berlin

The Intersection of Nature, Myth, and Craft: Robert Elfgen’s “Utopisch” at Sprüth Magers Berlin

Handling the ancient and complex relationship between humanity and nature not merely as visual material, but as the fundamental building block of a mythological and poetic language, Robert Elfgen presents his new solo exhibition, “Utopisch,” at Sprüth Magers Berlin. Opening on the occasion of Gallery Weekend Berlin and available to visit from May 2 to August 1, 2026, the exhibition brings together installations that fully encompass the space, unfolding like massive, immersive paintings.

A Practice Built on Contrasts

At the heart of Elfgen’s artistic practice lies the principle of ‘contrast.’ The new generation of sandblasted glass panels, set within wooden frames he crafts by hand, offers a diversity of forms evolving from elegant organic motifs to geometric shapes and, ultimately, industrial structures. These panels, possessing a sculptural presence, physically divide the exhibition space while successfully maintaining spatial integrity and dialogue through their transparency.

In the artist’s paintings, the nature of the material itself dictates the fate of the image. Elfgen applies successive layers of pigment onto wooden surfaces and then sands the paint back to reveal the wood’s own grained texture once more. These grains, emerging from within the material and merging with the masterfully controlled play of color and light, transform into layers of mist or an overcast sky, creating deep, atmospheric sensations. Based on everyday observations yet possessing a mythological resonance, these works carry a highly subtle and romantic aura.

The Task Forgotten by Modernism: Mimesis

The conceptual backbone of the exhibition rests on one of the oldest debates in art history: the concept of mimesis (the interpretive reproduction of nature). This ancient principle, stretching back to Aristotle and demanding that the artist make sense of the chaos and order of the natural world, was largely abandoned with the advent of Modernism. However, Elfgen revitalizes this tradition in an unconventional, direct, and deeply personal way by applying intricate craft techniques to found objects gathered from nature and his own daily life.

As demonstrated by works spanning over a decade of production—such as Serena (2020), Tartuga (2023), and Brandenburg Winter (2011)—Elfgen creates an atmospheric universe of “bricolage” by bringing together epoxy, brass, dried plants, fabric, and wood.

This exhibition at Sprüth Magers stands as one of the most powerful stops on the Berlin art calendar for those wishing to explore that utopian boundary where the realities of art and life intertwine; where art turns into nature, and nature softly turns into art.