Sculpture introduction
My sculptures are made of soft materials like fabric or paper. They can change shape and be preseneted in different froms and places. Like tattoing skin the material is made by dying and staining fabric creating two dimensional shapes. Then the two dimensional material becomes a three dimensional form. The sculpture is carved out from the air, either by wind or manual folding. However such underlying concepts are altered according to the underlying poetic quality of the intended expression.
No internalised picture is in any way convincing if it is not at the same time private and sensual; at the same time no shape or form is convincing if it is not also an internalised picture. Everything that is experienced refers to shapes, forms, objects but not as a metaphor or as an invitation to contemplate, but instead as its own autonomous presence in the world. This autonomy allows the viewer to discover her/himself in works of art, as layers and levels articulate an internal space.
The German poet Peter Handke describes it like this:
“Walking in the woods, I raised my hand to greet a bird and as I was doing so, felt the shadow of its presence in my palm. “
Meine Objekte fangen den Augenblick ein, die unmittelbare Interaktion zwischen dem Objekt und Betrachter. Darin liegt Freiheit , sie sind keine Belehrung oder Statement und auch als Information schlecht zu gebrauchen. Ihr Anliegen ist hinter der sichtbaren Welt das “seelische“ zu spüren. Es ist die Idee von Transzendenz den Riss zwischen Gefühl und Verstand zu kitten.
My sculptures are made of soft materials like fabric or paper. They can change shape and be preseneted in different froms and places. Like tattoing skin the material is made by dying and staining fabric creating two dimensional shapes. Then the two dimensional material becomes a three dimensional form. The sculpture is carved out from the air, either by wind or manual folding. However such underlying concepts are altered according to the underlying poetic quality of the intended expression.
No internalised picture is in any way convincing if it is not at the same time private and sensual; at the same time no shape or form is convincing if it is not also an internalised picture. Everything that is experienced refers to shapes, forms, objects but not as a metaphor or as an invitation to contemplate, but instead as its own autonomous presence in the world. This autonomy allows the viewer to discover her/himself in works of art, as layers and levels articulate an internal space.
The German poet Peter Handke describes it like this:
“Walking in the woods, I raised my hand to greet a bird and as I was doing so, felt the shadow of its presence in my palm. “
Meine Objekte fangen den Augenblick ein, die unmittelbare Interaktion zwischen dem Objekt und Betrachter. Darin liegt Freiheit , sie sind keine Belehrung oder Statement und auch als Information schlecht zu gebrauchen. Ihr Anliegen ist hinter der sichtbaren Welt das “seelische“ zu spüren. Es ist die Idee von Transzendenz den Riss zwischen Gefühl und Verstand zu kitten.