My sculptures move in the field of tension between analytical planning and creative dedication. When working on the sculptures, I'm always looking for the right moment to let go of my planning, to follow the wood and still find the balance between dynamics and stability. That's why I like working with wood so much. It is diverse, lively and full of surprises. For me, wood is more than just a workpiece - I don't work on the wood, I work with the wood. The process of creation resembles a dialogue or a negotiation about what actually emerges in the end. My sculptures often show the confrontation with aging, which is why I often work with very old, sometimes very rotten wood. Sometimes it is also possible to draw with the grain on the surface and use it as an additional design element.
While working on the sculpture, a story develops between me and the wood. Sometimes I want to tell this story as well. Then I give the sculptures a name. But it's often the case that I want to give the viewer space for their own stories, so that they can have a personal dialogue with the work. I am particularly pleased to be able to hear these individual stories in the course of an exhibition and thus to come into contact with the visitors.
In contrast to pictures, sculptures have the advantage of being versatile and should also invite you to change perspective. In this way, my works enable the viewer to gain insights into different perspectives and interpretations. I am uncompromising when it comes to the haptic properties of my sculptures. My works should animate to grasp. That is why the creation process extends from the chainsaw to the finest sandpaper.
At exhibitions, I often hear two questions: "Does the sculpture really stand on its own?" and "May I touch it?"