Like many artists of his generation, Harald Klingelhöller studied at the Academy of Art in his home town. His first exhibitions in the early eighties can be set within the movement that emerged at the time as a reaction to the return to Expressionist ways by a large number of German artists, widely recognised by then. Like other sculptors such as Ludger Gerdes, Reinhard Mucha and Thomas Schütte -with whom he has shown on numerous occasions, such as "Konstruierte Orte 6xD+1xNY" at the Kunsthalle in Berne in 1983, or "7 Skulpturen", presented at the Kölnischer Kunstverein in Cologne in 1986-, Klingelhöller joined the more analytic and conceptual tendency, which took the art of the sixties as one of its references. Since then the debate about his work has revolved around language, its metaphorical value, the relation of the works to their titles and the efficacy of sculpture as a support for communication. Klingelhöller has evolved from using the title as an element to explain the piece -providing the criterion for decoding it- to making it work as an independent composition, which develops a theme parallel to the theme of the sculpture itself. His works share the use of a limited repertory of materials, usually simple, everyday ones, such as cardboard, plaster, wood, mirror glass and steel sheets, which are arranged in the exhibition space to provide multiple points of view.