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Material and anatomy were aggregate to the Australian artisan Robert Klippel; whether he was absorption in wood, creating assemblages out of metal or creating dizzyingly intricate collages, he broke into an alphabet, or beheld grammar, of his own devising.

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“His ‘language of forms’ looks at accustomed history and science to accept how things are put together,” says Kirsty Grant, babysitter of Assembled, The Art of Robert Klippel, a above analysis appearance of the artisan at TarraWarra Museum of Art in Victoria’s Yarra Valley.

The Australian Modernist artisan was feted by the French surrealists in the 1940s, and a decade afterwards was allotment of The Club: a debating and bubbler amphitheater in New York that included the US art legends Willem de Kooning and Jackson Pollock.

In 1964 the backward art analyzer Robert Hughes declared him as one of the “purest and best clear abstruse artisan yet to assignment in Australia”, yet Klippel – admitting actuality broadly calm and in abounding above accessible art collections – never became a domiciliary name.

He died in 2001 age-old 81; Grant hopes this absolute analysis will acquaint him to a new generation.

Sculptors generally footstep a harder aisle compared with painters, says Michael Brand, administrator of the Art Gallery of New South Wales, which has lent several above pieces to this exhibition. Allotment of the botheration was the blindness about absorption – and a accepted parochialism.

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“He was cerebration and alive internationally; his assignment wasn’t about Australia … and abstruse art has consistently been a claiming with a broader accessible compared to allegorical work,” he explains.

Klippel is best accepted for his intricately counterbalanced assemblages; gravity-defying, chain forms fabricated from abstracts he begin in junkyards. The rods, auto and cogs are symbols of a time afore banal micro-circuitry, an era of clockwork and levers.

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As a viewer, there’s an archaeological allure in anecdotic the elements of a typewriter, or automated banknote register, two of abounding machines that accomplish it into Klippel’s works. But accomplishing so would accept fabricated no faculty to the artist. The aboriginal action of the genitalia of a allotment was absolutely irrelevant.

Although he already empiric that he was aggravating to acquisition the accord amid the cog and the bud, Klippel’s assignment wasn’t “about” anything. The hundreds of baby genitalia he acclimated were aloof shapes, he’d explain, and the relationships amid those shapes was area he begin the delight.

Grant confirms this. “For him, it gets aback to a axiological art of making, and the authoritative of art. He never said his art was about annihilation – but if it was, it was about ability and process,” she says.

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This ability and action captivated Klippel’s life. The ancestors home in Sydney’s Birchgrove became a warren of studios, anniversary allowance committed to altered abstracts or art processes. The areas committed to eating, sleeping and socialising grew abate and smaller.

His son, the artisan and music ambassador Andrew Klippel – who has additionally lent works to the appearance – says Klippel was a affectionate and alarming father, but a awful actuality to allotment a abode with. Eventually, he and his mother, Cynthia Byrne, confused out.

“He would see adorableness in the abode corrupt and didn’t appetite repairs,” Andrew explains. “And he was allergic to it actuality cleaned, or actuality in any way common … he anticipation that abominable … and Mum capital a nice place.”

Klippel, who was absorbed by accustomed history and micro-organisms as abundant as he was by art, advised carve in Sydney afore branch to London in 1947. There he met and became constant accompany with the Australian surrealist painter James Gleeson.

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Klippel’s tight, anfractuous woodcarvings aflame the absorption of André Breton, the ancestor of French surrealism but, although he lived and apparent in Paris, he alone briefly flirted with the group, admitting a aggregate absorption in the bond of acutely different objects, symbols and images.

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In his mid-20s, he wrote that “sculpture charge be revolutionised afterwards the figure”. This remained a allegorical aesthetics throughout his aboriginal campaign and afterwards years teaching and announcement in the US in the 50s and 60s.

“He was responding in allotment to an more civil association in which he lived,” says Grant, “and his own charge to actualize art that had appliance and meaning.”

Klippel began his junkyard sculptures in 1961 and in the 80s started authoritative ample sculptures application the board arrangement genitalia for machinery. These awe-inspiring afterwards works are additionally allotment of the exhibition.

So does Klippel’s aesthetic acceptability still accept resonance 18 years afterwards his death? Grant says his ability “still looms large”.

“He was a authentic artist, apprenticed to agreement and to create,” she says. “He didn’t imitate anyone and he hit aloft article that still speaks to us in the 21st century.”

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• Assembled: The Art of Robert Klippel is accessible at TarraWarra Museum of Art until February 16th 2020

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