“The opposite of love is not hate, it’s indifference. The opposite of art is not ugliness, it’s indifference. The opposite of faith is not heresy, it’s indifference. And the opposite of life is not death, it’s indifference.”
― Elie Wiesel
I wanted to add the description below because, if for no other reason, it contains the phrase “mythical gigantomachy.”
Georg Herold’s monumental sculptures remind of the mythical gigantomachy, the battles between colossal beings. ‘Liver of Love’ is a highly seductive work of art, which charms the viewer into caressing its surface with their gaze. However, there is little softness in this figure: the tension and unhuman angularity of its limbs suggest the intensity of inner struggle. Indeed, Herold himself spoke of the sculptures’ reticence towards their maker: like a diffident lover, they hesitate to yield in submission.
Herold aims to find essential forms, unbound from existing associations. It is particularly important for him to explore questions volume and corporeal presence, privileging the physical, mistrusting notions of authoritative meaning. He sees a rupture between language and appearance, and favours multiple, non-exclusive readings of his art. Indeed, ‘Liver of Love’ denies any simple reading, deceiving the beholder with a seemingly ‘easy’ title. It is a work full of ambiguity, alluding to a cataclysmic strife, and yet displaying great balance and composure.