Throughout his life, Norbert Kricke created various forms of art to express his artistic ideas. Working as a pilot for three years during the Second World War, the artist took his basic ideas for sculptural conceptualisation from the air. His aim is not the quasi-drawing reproduction of pasty volumes, but the measurement, the abstract acrobatics of what could define an airless space. And that is what you notice in his sculptures: not an aesthetic refinement of a graphic-drawing approach, but an original calculation to capture the rhythm of the elemental forces. The movement that the artist has visualised in his spatial sculptures from the very beginning now radiates powerfully into the entire surrounding space.
The same goes for the spatial sculpture created around 1955. Although tightly twisted and curved within themselves, the metal rods extend into their surroundings almost like wings, suggesting a unique openness that can hardly be found in any other sculptor’s work. The entire energy radiates into the surrounding space and sets it into rhythmic vibration. Form, dynamics, space and time merge into masterfully placed and constantly changing expansions in space, whereby the sculpture dematerialises itself.