For the plastic works I use wood from torn down houses which with its brittleness and cracks already appears as if it has had a life of its own. The beams are glued and screwed together and figures come into being that through this working process have a constructive effect and in their abstraction remind one of archaic forms. To the formal concentration comes the element of time in which the past is contained and the future aging process is already anticipated.
In most vertically aligned sculptures, the symmetry is slightly off balance. Through this lies the gravitational center in stillness as well as in movement. Just as light and heavy parts are positioned across from each other: constructive and organic, concentrated and space taking.
One can come considerably freer and more spontaneous closer to the figure with graphics. I deal with the figure, as well, in small formated pen and ink drawings, water colours, collages or mixed techniques. Glazes, structures and textures of paper and paint are similarly interpreted as the surface of the wood sculpture.
Both graphics and plastics are often determined from oniy low formal contrasts. Through
that comes a tension that doesn’t stay an the surface but rather is also directed inwardly.
The question is: Do correllations function as opposites, Separation or circulation?