WORKS
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C. ALEXANDER HÄUSLER
 
BRIC-A-BRAC
BRIC-A-BRAC
 
 
 
IMMANENCE
IMMANENZ
 
 
 
MOVING SOLID
WANKENDER
KLOTZ
 
 
 
LAYERS
EBENEN
 
 
 
RE-DIRECT
AUSRICHTUNG
 
 
 
SIMULTANEOUS
SIMULTAN
 
 
 
SPACE
BREATHING
RAUM
ATMEN
 
 
 
UN-COVER
AUFDECKUNG
 
 
 
THROUGH
HINDURCH
 
 
 
SKY
HIMMEL
 
 
 
LIGHTS
LICHTER
 
 
 
MEASURE LINE
MASSLINIE
 
 
 
MIRROR CORNERS
SPIEGELECKEN
 
 
 
DRAWINGS
ZEICHNUNGEN
 
 
 
T-SHIRT
T-SHIRT 
 
 
 
STATEMENT
DISKURS
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
SIMULTAN WHITE.jpg
The drawings of the series simultan show large monochrome areas in umbra color and/or coal lines on paper.

Papers that are slightly taller than a human (2,25 m) and about twice as wide as a human with stretched arms (4 m) are hanged low above the ground. The brown umbra areas resemble in their height dimension relationships to the human scale; knee height, shoulder height, height of vision or total height. In their width the umbra areas refer to the paper size and the position of the papers in the room, often placed closely to a corner. The humidity applied during the painting process changes the structure of the paper.

The drawings of the series simultaneous investigate material and the making of the wall and the paper as well as the relationship to the observer, his vision and the space from which he observes the drawing.
The used pigment umbra creates a simultaneous relationship to the brick  the material of the walls on which the drawings are placed. Umbra is a earth pigment made out of clay and is literally the same material out of which bricks are made and mythologically refers to the roots of western culture through the genesis parable where clay is the matter humans are made of. The abstract umbra areas repeat human dimensions in their heights. Oblique lines describe possible relations of the dynamic of the space as an observer interacts with the specific space in motion. The size of the paintings demands an intimate relation to the observer in which he cannot observe the whole of the drawing. The observer becomes simultaneous to the picture plane as he observes it. The human body and his relationships which were investigated in the early drawings have no longer a referential character, as the observer himself tests the relationships.
Simultan is an attempt to create a non-representational and non-referential method of painting / drawing which attempts to qualify the observer as participant of the art world and as active observer / creator in general. The series is chronologically followed by the paintings of the series immanenz.