Daniel Hölzl

Daniel Hölzl is one of ArtConnect’s Artists to Watch '24

Daniel Hölzl [b.1994, Austria] has studied Fine Art at the Art Academy Weißensee and is now living and working in Berlin. He is being represented by the Berlin gallery Dittrich & Schlechtriem since 2021.

ArtConnect asked the winning artists to share with us a glimpse into their creative life to get a sense of their personal inspiration and artistic process.

How would you describe your artistic style and what inspires your work?

My artistic practice and research revolve around creating site-specific installations that delve into the cyclical nature of matter and challenge conventional notions of continuity. I have a particular fascination with exploring the interplay between materials, their histories, and their potential for transformation.

In my works, I place a strong emphasis on utilising recycled materials, imbuing them with new life and meaning. Some of my installations even undergo autonomous changes throughout the exhibition period, blurring the boundaries between landscapes of repurposed objects, reproductions, and reality. This approach allows the installations to become dynamic entities where models themselves serve as the final product. By borrowing materials from an ever-changing world and incorporating temporary elements, my installations may provoke viewers to reconsider the role of monuments in society and help question our tendency to fetishise permanence.

Through immersive experiences, my installations aim to create moments of distortion that challenge our relationship with rigid systems, fostering a heightened sense of interconnectedness. I am continuously motivated by my engagement with specific materials in various contexts, prompting reflections on transience, the environmental impact of human actions, and strategies for sustainable resource management. Additionally, this approach ignites a deep exploration of my own family history, the intricacies of opaque juxtapositions, and broader inquiries into temporality and cycles as a whole.

Could you share a memorable anecdote or story from your artistic journey that has had a lasting impact on you?

Fellow artists and friends have a huge impact on me in general, but if I had to name one thing it would be the following: In 2022 only days before the opening of GROUNDED, my first solo exhibition at the Berlin gallery Dittrich & Schlechtriem, I had a rather crazy idea. Instead of ordering a big and expensive truck to take an 8,5 meter long airplane from my studio to the gallery, I decided to attach some wheels to the “readymade” object and roll it across the city. (You can find proof on my Instagram page.)

The beautiful thing about this whole story is that within one day I was able to find four truly amazing and similarly crazy friends that actually made this possible. The five of us pushed the airplane for a total distance of 9 kilometers and we somehow managed to pass all unforeseen hurdles along the way. Let’s just say we had to get really creative sometimes while trying not to attract too much attention.

It took us a solid 3,5 hours (we started our journey at midnight). The whole thing turned into an unforgettable experience and showed me that nearly everything is possible as long as you have the support of the right people. When helping each other, any artwork can be moved and knowing that truly moved me too.

Can you talk about a specific piece or series that holds a special significance to you?

This is very hard to answer due to the fact that I often recycled the materials and concepts of former installations into new work. GROUNDED is an ongoing series that by now has fully consumed the former materials used in my installations CYCLE NO. ONE (2018) and CYCLE NO. TWO (2019). The airplane wheel in GROUNDED, made from recycled paraffin wax, has meanwhile been turned into an edition, some new wax paintings, an oil barrel for LIVE BAIT and is currently being melted into a new sculpture once more. Some carbon fiber fishing rods of BAIT have now become the frames for my latest series AFLOAT.

The most important “work” might be the connections between all works rather than the works themselves — the notion of transients and the material cycles etc.

Can you describe your creative process and the themes or concepts that drive your work?

I carefully select and source materials locally, such as recycled carbon fiber and recycled paraffin wax, both goods derived from petroleum, offering an insight into the carbon cycle. My installations draw attention to the interlaced timescales and the endless potential of matter, connecting the work with its environment and visitors. The aim of my installations is to facilitate moments of distortion that could shake our relationships with often rigid systems and, by doing so, promote a greater sense of interconnectedness.

My engagement with specific materials in various contexts is my way to reflect on transience and the effects of human actions. This attitude also results in a strong impulse to deal with my own family history and the complexity of juxtapositions, as well as current questions on temporality and cycles in general.

How do you stay motivated and inspired in your artistic practice?

Honestly, everyday life. One of my favorite ideas, for example, came to me whilst searching for some sports equipment, and instead, I ended up bending an 8-meter long carbon fiber fishing rod against the walls of that store for 30 minutes… as long as I am working on certain concepts/questions the supporting materials and objects tend to fall into the gaze sooner or later.

How do you balance your artistic career with the business aspect of being an artist?

I am grateful for having the support of a wonderful gallery team at Dittrich & Schlechtriem and I learn a lot from fellow artists who had similar struggles in the past.

“And well, sometimes balance has to wait 😉”

See more of Daniel’s work

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