“Simplicity and complexity, as every scientist knows, are but two sides of the same coin. That which appears to be uncomplicated can be, in fact, amazingly complex, and vice versa. Artists sometimes address this same duality. In our efforts to make the world a bit more comprehensible, we give form and substance to an often bewildering diversity.

The works have evolved from my conviction that art reflects our deepest feelings and conjectures about the nature of the cosmos and our relationship to it. We all express our values and aspirations through our actions and the artifacts we produce. In so doing, some form of simplification, i.e. a structure, system or ordering principle, is usually imposed on an otherwise overwhelming amount of information and possibilities.

This reduction process often denies, limits or inhibits diversity in the name of convenience, control or economy” – David Eisenhauer

David Eisenhauer’s aptitude for texture and geometry is based on seven years of architectural studies at the Carnegie Institute of Technology and Princeton University in the US where he took a Master of Fine Arts. In 1969, he left the United States, settled in Sweden, and began working with an architectural studio designing schools and public buildings. In the early seventies, Eisenhauer began experimenting with sculpture and painting in ways that reflected his enduring love of geometry, structure, and the dynamics of unfolding visual experience. With his feet firmly planted in the Bauhaus tradition, David also drew upon his interest in Russian Constructivism, Art Deco, and Dadaism as well as more recent movements like Minimalism and Postmodern architecture.

Always on the lookout for new ideas and materials to explore, his career has concentrated on the sculptural and relatively small-scale possibilities of a number of ‘additive’ construction methods, where the elements of play and trial and error are exploited – along with the sometimes positive surprises of pure chance. Combining simplicity and complexity in visually exciting, suggestive ways have always been the hallmark of Eisenhauer’s work.

Eisenhauer was represented by Galleri Konstruktiv Tendens from 1988–1997 with both solo and group exhibitions.

Hans Mörner writes the following on David’s retrospective exhibition held at Galleri Duerr in 2012 which included a selection of works from David’s various ‘periods’ where his adventures into the visual possibilities of three-dimensional form, color, scale, movement, and material provided a revealing roadmap of his artistic ambitions and intentions.

”David Eisenhauer odlar inte spontaniteten hur mycket han än älskar det spontana. Han ägnar sig tvärtom, tror jag, oupphörligt åt att söka uppnå det eftertraktade i en gjuten form – att formge sin eftertraktelse; en slags bemästrande av de stridande krafter som ofta inom konsten släpps lösa på gott och ont; att göra sig fri inom de proportioner som motsvarar den gudomliga harmonin; att finna och förhålla sig trogen sin skala. Hans senaste fas Strängtavlorna, äger trots hundratals meter spänd pianotråd hit och dit , ett lugn, en frusen harmoni, som blottlagda dissektionsytor, tonsatta iskristaller. Naturen – det naturliga – låter sig ana ”before somebody came along and told you you had to earn a living”.

David Eisenhauer on Artsy