Max Goldt once said, the artist should not stay in the way of his work. Well, there is always a demand of some words from the creator of art work, so I want to talk about, what makes me work as an artist:
Wood is a common material for artists since milleniums to express their understanding of their world. But is not the easiest material: it is not homogeneous, so it demands lots of attention and skills and you cannot do copies for increasing the business – like in clay. Why do I use wood after all? Besides hard and splintery beechwood?
The work is risky and tedious, demands concentration and sensitivity for the material’s structure – thus challenging craftmanship.Usually wood refuses to behave like the artist’s plannings.
Together with the subtle texture and unexited tint of beechwood that makes it my favourite material. Beechwood allows undisguised view towards the form language. The shiny smooth surface means a distance to „harsh“ nature to me. The outcoming piece is a picture, not a copy.
The tactile dimension: There is this invitation to the spectator to touch, to feel the inherent stored warmth of the sun deep inside of the material. The incorporated strings and muscles can be touch and open another dimension to phantasy.
Subject follows function. My abstract – as well as the anthropo- and zoomorphic sculptures emerge from the curiosity what other structures evolution could find – or improve – to add another niche in nature.
I mostly work without preceding drawings und start to work unintentionally; the „idea“ evolves during the progress – the work is the result of an undetermined process that is condensed to an aim quite late.
titles: „no title“ is so valid how it is boring and often disappointing for the spectator (who anyway is peeking to the labels for a helping hint towards the intention of the artist). My pleasure of spinning a yarn or to attract the audience on wrong trails or into traps let me weave titles that sometimes even might fit.
I am using the traditional tools: saws, mallet and chisels, rasps and fills. Additionally electric drills, multitools and sanders are a good help. But the last 30% of the work is smoothing and sanding the surfaces manually with sandpaper until it gets that certain shine. Here lays another difficulty: the creative, artistic, process is done. Now comes the “boring” work to finish the work. I have tyo go into a kind of meditative state to overcome this time. But the result is worth it.