(...) Sayler´s approach proves, when subjected to closer scrutiny, at once unobtrusive and subversive. What is gained by such experimental constructs can be assessed from the changed response thus induced by seemingly familiar configurations. When his works are transposed to the underside of archways and bridge pylons or fire-proof walls, the ordering of suchs configurations competes with taht of signs. What Sayler has let himself in for visually turns out to be his response to the present, to what already exists, consolidated and hisorically determined. In this respect, his works also constitute an act of selb-assertion by placing art in the midst of a grey environment that has always presented itself as "occupied" and "finished". The sign is to open up what is closed, or at least to make us aware of it. On the other hand, these interventions in the urban environment do not lose a framework of connections that can be checked. Thinking in "polarities" attains a new dimension whereby spontaneity, playfullness and subjective perception gain increasingly more space. (...)

Joachim Heusinger von Waldeck
Karlsruhe, 1998