IN CONVERSATION WITH ROLF SACHS
interview by JANA LETONJA
Renowned Swiss artist and designer Rolf Sachs is preparing for his largest institutional exhibition to date. Opening from 18th July to 5th October at Kunsthalle Schweinfurt, the exhibition ‘Rolf Sachs: be-rühren’ will feature over 150 works ranging from conceptual furniture, sculpture, set design, and his recently developed painting practice, reflecting a body of work that consistently defies categorization.
‘Rolf Sachs: be-rühren’ spans over three decades of your work. What was the curatorial process like in selecting and arranging 150 pieces for this non-chronological exhibition?
My studio team and I started by identifying the key bodies of work that best reflect the diversity of my practice - from design and sculpture to photography, sound pieces, and painting. Within each group, we chose the most resonant pieces. Rather than following a timeline, we structured the exhibition thematically, allowing connections to emerge across mediums and decades. This approach reflects the intuitive, exploratory spirit of my work and invites visitors to engage with recurring ideas from new angles.
The title ‘be-rühren’ means ‘to touch’ in German. How does this reflect your overall artistic philosophy or this specific body of work?
My work is about people and human beings in general, their soul and characteristics. I try to touch the viewers’ emotions, just as I do when meeting people in real life. Empathy and harmony are important to me. Physically, it also reflects the way I paint, bringing my feelings onto the canvas. I mostly paint with my fingers, hoping to transcend my sensitivity to the canvas.
Your work defies categorization, ranging from conceptual furniture to painting to set design. Do you view this multiplicity as a challenge or a freedom?
Somehow, both. It’s a great freedom to be able to create and invent concepts within these individual categories. Shifting my mindset comes naturally to me.
Your studio is described as a ‘cabinet of curiosities.’ How do you think living among your inspirations affects your creative output?
My studio is my creative laboratory and constantly inspires me. I collect many objects that resonate with me. Some of them become actual pieces, while others stay there, almost forever. Most of them have a presence because of their simplicity.
Much of your work involves reinterpreting everyday objects. What draws you to the mundane as a source of artistic inspiration?
Everyone has a relationship with childhood memories, for example, the taste of grandmother's cookies. As a visual person, I have a sort of fondness for objects, tools, and forms that remind me of that time. Especially objects whose shapes are purely the result of their function, with no decorative element. That is why I love scientific vessels, or simple everyday buckets, or a clothes pin.
Has your recent exploration into painting changed or challenged your way of thinking as an artist and designer?
Painting is a completely different approach. It’s more about moving from the head to the gut, and hopefully, the heart is in everyone. Painting is an attitude, especially as an abstract expressionist. One tries to transcend one's inner soul onto the paper or canvas. I mostly paint with my fingers because using a brush creates too much distance between me and the surface. I need to feel the soul, the mood, and the essence of the moment.
You’ve worked across several cities and cultures—Switzerland, London, now Rome. How have these environments influenced your visual language?
I don’t believe these environments really influence my visual language, but I do need to work in an environment that makes my creative juices flow. One needs to feel free, and I personally enjoy a bit of edge. There are cities that work well for creatives, like New York, London, Berlin, but also Rome, Paris, or Madrid. It’s probably also a very personal perception of a place. For me, if it’s too neat or picturesque, it doesn’t excite my creativity.
Looking back over your career, is there a piece that you feel best encapsulates who you are as an artist, or one that still surprises you?
There are certainly some pieces with which I truly identify, probably 'Inseparable', two interconnected sledges. Lately, I’ve developed a special relationship with my paper works. Just touching paper is beautiful and then giving it character or sentiment by adding color feels so special. I also love the simplicity of the process. Often, the most modest things are the most beautiful.
What do you hope visitors take away from this exhibition, especially those unfamiliar with your work?
There are several emotions I hope will resonate with visitors - surprise, warmth, freedom, newness, curiosity, and humor. There’s nothing better than putting a smile on someone’s face.
After such a comprehensive show, do you already sense a new chapter emerging in your practice? What’s next?
Since I began my relationship with the canvas, many new intangible worlds have been appearing in my mind, and there is much to explore and create. The possibilities are, luckily, endless, as art is. I’m excited for the future. Many new concepts and pieces will hopefully evolve, helping to foster tolerance, openness, respect, and harmony - mindsets that seem to be somewhat forgotten in our present times.
