In recent years, I have gradually moved away from copying natural forms which exhibit growth and transformation. My interest in respect to artistic content has turned towards basic phenomena which occur in nature. I discovered fundamental principles and laws inherent in them and devoted myself to the relationships which lie behind the appearances.
Two aspects in particular have preoccupied me: “What is the relationship between the interior and the exterior?”, and “How does movement find its form?”. Also the related question: “How does novelty – new forms, new behaviour – come into the world?”
After a history of several thousand years of sculpting we now can take a fresh look at it. In my own artistic work emerges, over time, a fluid interplay in finding the relationship between the material and non-material elements of a sculpture. My special attention is directed to the empty and transitional spaces in rhythms and forms. This changes the perspective. At the centre of the form now stands light. At the same time, that which is in movement – change itself – became the stable, solid foundation of my work. I investigated the most varied of movements.
The experiences I have made add something new: sculptural forms can be created from the traces of directed movements. As pathways that have become substantial, these create a direct relationship between external and internal space. In this respect, observations of movements and cycles are the most important references in my sculptures.
After having ‘filtered’ out from movements forms of both, unity and duality, (which sometimes also shows polarity), I began searching for forms, whose underlying principles connect them in a threefold and fourfold manner. I discovered interesting connections with references to symbols and emblems of our own and of other cultures. I realized that these signs, which are part of our cultural and spiritual heritage and which constitute an enormous cultural treasure trove, had been preserved in a living tradition in drawing and painting, but had not so far appeared in three dimensional form with the same quality and differentiation – as if this task still needed further development and new resolve.
Currently I am particularly inspired by the continuous movements of Celtic characters and patterns. They appeared at first in two dimensions but now we can see, that their mathematical likeness relates to simple but threedimensional knots. They move in spherical spheres. The empty space at the centre allows for a fluid connection of inner and outer. The movements therein are clearly defined.
In my work, the spatial trefoil knot forms a fundamental basis. I vary it freely. By imagining the curve of the trefoil knot in space I create this shape out of wire; this gives the contours of my sculpture, which I then fill with convex and concave surfaces, until the new shape arises.
I do all this in clay – clay is actually the material that takes in every impulse, as well as reproducing every inner idea as external reality. And, like a child, I still love to play with clay in my hands.
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