Willis Towers Watson
GEGENWELTEN - Viewpoints, Points of view, Perspectives
The focus of the art conception by Samuelis Baumgarte Art Consulting for the new Wiesbaden branch of the renowned consulting firm Towers Watson was the task of designing the reception area and the mobile folding walls that serve as functional elements in the conference zone in an artistically stringent manner.
In photography, the point of view taken is a central component of image design. The series of works “Gegenwelten” by the Stuttgart artist Kurt Laurenz Theinert plays with this fact. Is there a “right” point of view? Is there a “right” point of view or perspective from one point of view? In his work, Theinert complements the mostly abstract motif he has found with a second one. To do this, he simply turns 180 ° from the position he has assumed and photographs what happens to be happening in the back of the original motif. A previously unperceived counterworld comes into play. The result is a pair of images that are constantly in dialogue that never dissolve. Good advisory work also brings such different points of view and perspectives into play. It is about flexibility of the line of sight, about discovering the unfamiliar and about dialogue with what is believed to be the only valid one.
Three other large-format works - spread over four walls - interpret the theme of “counter-worlds” through the fundamental form-content theme in the visual arts. In this case, the form is the built, physical, architectural space which, as content, is home to the immaterial, intellectual work of Towers Watson. Architectural photographs on site were abstracted and transformed into dynamic perspective forms, which, as gray surfaces, form the counterpoint to the copper-colored, artistically alienated formulas and diagrams. These are the result and tools of daily consultancy work.
The light plays with the different foil surfaces. Depending on the viewing angle, the copper-colored surfaces shimmer lighter or darker than the silk-matt gray, which in turn enter into a fleeting light dialogue with the silver-metallic basic tone of the wall. So the immaterial plays with the form and at the same time the material offers the basis for the interplay of form and content.