Roland Berger

The sculpture Pillar in Motion captures a moment of transformation – suspended between tension and release, form and movement. The slender vertical bronze seems to twist and stretch, as if following an internal rhythm. Its surface alternates between polished, mirror-like smoothness and gentle deformations reminiscent of waves or organic compression.

A raw, untreated strip breaks through the back of the sculpture, interrupting the fluid surface. This contrast between the gleaming front and the rough rear material heightens the impression of a transitional state – as if the object were caught mid-formation. The interplay of textures hints at erosion, pressure, or the passage of time.

Though entirely abstract, the work evokes a surreal presence – like a fragment from another reality, or the residue of a movement whose origin remains unknown. The impression of dynamism links the piece to the tradition of static kinetic art: motion is not physically enacted, but suggested through rhythm, elongation, and form. In this sense, Berger’s Pillar in Motion can be read in dialogue with Naum Gabo’s Kinetic Construction (Standing Wave) of 1920. While Gabo used vibration to create a real standing wave, Berger achieves a comparable effect in stillness, generating movement through perception alone.

Balancing formal clarity with a sense of latent energy, Pillar in Motion becomes a silent form in which motion continues to resonate – suspended between solidity and dissolution, between material presence and immaterial suggestion.