I first presented the work of Heinz Breloh (1940-2001) in my gallery in 1991. To give insights into his sculptural approach, pieces from different work groups will be exhibited. A sequence of photographs in which Manfred Förster documented the creation of the life-sizes for a show at the Kunstmuseum Magdeburg in 1995 reveals Breloh's performative working method. A basic feature in his cross-media oeuvre is the theme of figural presence and absence.
Hans-Jürgen Hafner (Kunstverein Düsseldorf) on the topicality of Heinz Breloh's work:
"Owing less to immediacy than to the artistically consistent dealing with mediality and constructedness, the quality of Breloh's works is based on how they unite aspects of direct presence and theatricality within the sculpture. What may fit in well with this is the fact that the artist - after his pronouncedly 'classic' sculpture studies (under Gustav Seitz 1961-1963 in Hamburg and Fritz Wotruba 1964-1968 in Vienna) - in the late 1960s turned to experimental working methods. Breloh's pieces from this period open themselves to the then-'new' media, photography and video, and additionally expand into the field of performance, happenings and installations. Photography, here, has a documentary function, but Breloh also creates media-reflexive pieces staged for photographic depiction.
What helps recognising the topicality of this artistic approach is to discover his sculptures as a grandiose achievement of synthesis in the impressive intensity of Breloh's works, and to reconstruct - behind their gesture of authenticity and directness, which is maintained even in the bronze casts of his sculptures kneaded into and rubbed out of the modelling clay and shaped in a dance-like way into sculptures - an indeed highly specific form of mediality using sculpture as an example, so to say. Heinz Breloh always also theoretically reflected upon his profoundly conceptual understanding of sculpture. A note in his notebook "für Krimhild" (1988) reads: 'Choreography is the geometry that starts to live when being performed; it then loses its unconditionality and totalitarian claim. Rationality and organicity merge to an adventure.'" (from: Hans-Jürgen Hafner, Zum Medium machen, June 2012)