Lars Fischedick’s new body of work explores the physical and conceptual limits of material through a dialogue between precision and raw force. Working with wood, resin, and metal, the artist transforms surfaces into charged fields of tension, structure, and disruption. In Controlled Rupture, the exhibition brings together a series of works in which timber is carved, fractured, layered, and reconstructed, revealing the hidden energies that exist beneath seemingly stable forms.

Fischedick’s process begins with direct intervention into the material itself. Using both precision tools and the primal force of the axe, he cuts into wood surfaces, generating dense networks of incisions, planes, and angular ruptures. These carved structures are then combined with resin and metallic elements, creating compositions that oscillate between control and instinct, engineering and gesture. Every mark becomes a visible record of force applied to matter.

Geometry plays a central role throughout the exhibition. Grids, radiating lines, intersecting planes, and faceted forms evoke architectural drawing, mapping systems, and engineered structures. Yet these precise elements are continually challenged by the expressive violence of the carved wood. Order and disruption coexist, suggesting systems under strain, forms in the process of becoming, or structures pushed to their threshold.

In works such as Interferenz, finely calibrated linear systems collide with fractured surfaces, generating shifting optical tensions as the viewer moves. The Folded works introduce sculptural dimensionality, transforming the wall into an architectural plane where surfaces bend, split, and project outward. In the Dark Matter series, densely carved fields suggest compressed geological mass, interrupted by sharp geometric insertions of metal and resin that imply concealed structural energies.

Rather than representing rupture metaphorically, Fischedick embeds it directly within the material. The works emerge through acts of cutting, splitting, layering, refining, and rebuilding. Matter becomes both subject and witness to its own transformation.

Presented together, the works create a dynamic spatial environment in which texture, geometry, and light continuously interact. Carved surfaces absorb and reflect light in shifting ways, revealing hidden depths, edges, and subtle transitions as the viewer moves through the space. The exhibition invites viewers to experience the charged relationship between precision and disruption, discipline and instinct, construction and collapse.

Controlled Rupture ultimately reflects on the unstable nature of systems – material, architectural, and social – and the forces that shape, fracture, and transform them over time