Adrian Göllner

Adrian Göllner


An explosion 1/1,000,000,000th the power of the first atomic bomb (2016) $2,000
Cast aluminum and wire
5 1/2″ x 2″ x 1″

This small, delicate, flower-like sculpture is created from a measured explosion 1/1,000,000,000th the power of the first atomic bomb, Trinity (US Army, 1945). Creating this work involved multiple challenges including a startling backwoods experiment in which Göllner determined the powers he was dealing with. He then incrementally increased the size of the charges and finally, with the help of the Canadian Explosives Research Laboratory, the goal was accomplished. The sculpture is made by casting the negative created by the explosion with aluminum.


Image: explosion process

Reconstituted Crayons
(2017) $1,000

old crayons (wax and pigment)

A few years ago I learned how to cast objects. What intrigued me about the process was the body-snatcher aspect. A mold could be created around an object so that its exterior form was perfectly retained, but a different medium would be substituted for its body. The resulting pieces contains a lingering question as to the true essence of the object.

At the time of creating Reconstituted Crayons my youngest son was 3-years old, and I had a large bin of broken crayons. Those bits of crayons spoke to the many hours of colouring and experimentation, and his wonderfully awkward drawings of people and animals. I thought if I could create a complete set from those bits, these crayons might carry with them to the next user all of the innocence, naïveté, and originality of his still unbiased mind.



Average Bird 2017-2018 (2021) $2,000
Digital Print, 31″ x 33″

Average Bird 2018-2019 (2021) $2,000
Digital Print, 31″ x 33″

Watercolour Bird Sampler 1, 2021 (2021) $1,600
Digital Print, 31″ x 33″

Watercolour Bird Sampler 2, 2021 (2021) $1,600
Digital Print, 31″ x 33″

Watercolour Bird Sampler 3, 2021 (2021) $1,600
Digital Print, 31″ x 33″



My studio practice concerns the transposition of sound, time and motion into other forms. Most recently, this has manifested in attempts to cast explosions in aluminum and bronze, but this body of work began more gently as experiments in which traces of the past were conjured out of analogue technologies and made visual. For example, for the Norwegian Wood Drawing (2012), I undertook to divine something of the sadness and brilliance of John Lennon from old Beatles albums by way of a mechanical contrivance that transferred the minute variations of the vinyl grooves onto a paper surface. The resulting series of drawings appear to, even if in a very small percentage, contained true traces of Lennon’s essence. Indeed, consistent throughout this body of work are methods that allow for the energies, motions and essences at hand to be captured and presented in a seemingly raw and unfettered manner. As such, the Cast Explosions (2015) and small Trinity (2016) pieces are not representations or renditions of explosions, but the actual explosions themselves, albeit in a stilled state. While there is a strong speculative element of this pursuit, the works nevertheless emanate an undeniable aspect of the real, one that lends them reliquary-like presence.


Also visit Adrian Göllner’s Artist Page Central Art Garage’s main website.