Sculture e disegni 1984–85 documents an early, concentrated phase in Josef Dabernig’s work, bringing together sculpture and drawing as parallel, method-driven investigations.

The pieces articulate a reduced formal vocabulary shaped by geometry, modularity, and serial variation. Rather than serving as preparatory material, the drawings function as autonomous tests of proportion, symmetry, and repetition, while the sculptures establish restrained spatial propositions grounded in material directness and minimal surface treatment.

The publication presents the works in a sober documentary sequence that foregrounds continuity and controlled difference across the series. In doing so, it makes legible a consistent analytic attitude toward structure and ordering systems—an approach that can be read as foundational for Dabernig’s later expansions into filmic and architectural thinking.