Ottmar Hörl

[6] Based on his findings and the resultant implications, he has developed stringent artistic answers and strategies as well as his expanded, interdisciplinary definition of sculpture.

His quest for a reformation and extension of traditional approaches to sculptural creation is mirrored in both his use of industrial produce (e.g. garden gnomes, heavy-duty pallets, storage boxes, rubbish bins, plastic tubing)[7] and his interdisciplinary collaborations with specialists from different fields such as architects and musicians.

[8] He has, for instance, worked with portrait photographers, professional athletes, pilots and sharp shooters, and invited a football team or everyone living in a particular town to collaborate.

[7] One of his principal aims is to overcome a phenomenon still prevalent in art today, namely that of an artist attaining subjective fulfilment, leaving his personal mark and expressing his individual style; Hörl, by contrast, wishes to effectively implement the "absence of will as a notion of creative practice".

[9] Coupled with his respect for, and acceptance of, the integrity of inanimate objects and animate creatures,[10] this decision represents the central motivation in Hörl's attitude as an artist.