Alexander Biserama Becherer is a German artist, mainly a sculptor, who uses an array of materials such as hardened polystyrene, wood and metal to shape muti-dimensional clusters of words and images with impressive size and intricacy to create.
He was born 1983 in Lahr/Schwarzwald (Black Forest) a wooded mountain range in Baden-Württemberg, Southwestern Germany. In 1997 he had first tests with graffiti just around his parent’s house. According to Biserama his first intentions to start painting was when he was 13 years old and he wanted to have fun outside with friends. Adrenaline, traveling, friendship, adventures, “Name Dropping” … He thinks those are normal reasons why the majority of young creative kids is starting to do graffiti. In 1999 he trained tool making and plastics. Few years later, he studied at the “Academy of fine arts” under Prof. Franzjoseph Held.
Biserama and typography
He is very detail-addicted person and artist. So he loves and does works mostly with a lot of elements in it. In the first moment the viewers eyes get’s flooded with a lot of different information they have to sort. He appreciates to do works with strong messages and symbolism. According to artist, ambiguity is a highly recurrent element in his works. He loves typography since day one of his artist career. From the classical letter-graffiti, he was doing for the first 10 years; he developed his style more and more to a combination of sculpture, installation and stencil-painting.
Alexander Becherer recently unveiled his sprawling, large-scale sculpture “Paratropolis” at Galerie Kesselhaus in Lahr, Germany. The artwork is a cacophony of words and symbols that, together, present the artist’s conception of a futuristic megacity in which urbanization has spiraled out of control. Becherer’s choice to render the work in grey scale further underscores his vision of a time devoid of color, a period in which individual lives are subsumed in the urban environment and individualism is lost in a world of massive buildings and invasive technology.
No people remain in this apocalyptic sculpture. In between corporate symbols like the Nike swoosh and the Google logo, “ZEITPLAN” (which translates to “schedule” in English), “FUCK YOU,” and “YOUR CITY OUR RULES,” are repetitively forced upon the viewer who attempts without success to find order in the destruction. While each angle provides a different perspective of the megacity, the message remains the same: Doom is destiny if urbanization does not slow down and if the rural areas are not preserved and protected.
Alexander Becherer’s work of opposition and disruption
The curtain, since centuries both a hiding and at the same time also revealing element of the fine and performing arts, is foregrounded in the message of Bisreama’s installation work “Behind The Scene”. The work interconnects a detailed search with medial dialog. The concept of a view around the corner, the skill of lateral thinking, and the confusion caused by a partially obscured work in the background, are used as part of the enticing element of the curtain as a medium. The work is ruled by elements of opposition and disruption. The metaphors of tension-ridden spaces, situations of danger, and even a weird sense of promise are thereby created and systematically transformed. Without the courage and effort of entering the installation, of ducking, stretching, and looking behind the curtain, the work never discloses itself fully and important details remain hidden. If the obstacle of entrance is overcome, the viewer is still confronted with a wall of newspaper scraps that once again requires sorting out. The theme of glasses and the choice of scissor cuts add yet another level to the whole installation, where a view from afar reveals a self-portrait. According to Becherer his wish is to work as long as he can as a free artist: “There are a lot of unfinished works in my head.”
Alexander Biserama Becherer lives and works in Gengenbach, Germany.