The works exhibited in Bill Bollinger’s 1966 debut show in New York
consist of long, thin anodized aluminum bars, worked by the artist with a few
diagonal cuts, then recomposed in dynamic juxtapositions that show off the
metal’s material qualities. Installed longitudinally on the wall, these small
silvery channels establish a dialogue with the exhibition space, imprinting it
with an unusually light and strongly aerial dimension. In the years immediately
following, with his ceaseless experimentations and explorations along a
decidedly individual path, Bollinger stood out for his development of an
original idea of sculpture as a process that brings out the properties of the
industrial or construction materials used, according to principles that can be
tied back to his education as an aeronautical engineer. [...]
