Artist Statement
"We don’t want to copy nature. We don’t want to copy, we want to create." — Hans Arp
I am inspired by the sculptors of the early twentieth century, whose work opens up a new world of pure form. Their sculptures are non-representational, evoking shapes of the natural world without replicating them. The forms are complete in themselves. The most important aspect of my artwork is the process of emergence. I prefer to surprise myself and grow with my art from the inside out, instead of working with a fixed idea. I venture out from a germinal starting point, with questions related to form itself.
I am inspired by the sculptors of the early twentieth century, whose work opens up a new world of pure form. Their sculptures are non-representational, evoking shapes of the natural world without replicating them. The forms are complete in themselves. The most important aspect of my artwork is the process of emergence. I prefer to surprise myself and grow with my art from the inside out, instead of working with a fixed idea. I venture out from a germinal starting point, with questions related to form itself.
This ensures that what arises is fresh and new to me. All stories have a beginning, middle, and end. The main character evolves through these three acts. He shifts from naive to mature, inexperienced to experienced, unknown to the known. I see my artistic process as also consisting of three stages. Perceiving the artwork, growing with it, and feeling one with it. When I begin a new project, I make handmade clay models. I saturate my imagination with various visual qualities. I choose to work with clay because it is very malleable, and can undergo quick changes. In this early stage, I use archetypal forms like a sphere or a saddle plane as a starting point. This provides infinite possibilities. Then, seeking inspiration, I engage with qualities of movement, balance, and life. I pay attention, especially to the transitions. I apply movement to every part of the sculpture, whether prominent or subtle. Movement enables me to trust the unknown, learn detachment, and embrace change. It allows things to emerge and dissolve in the process of becoming. The third stage is intuitive, where I feel one with the sculpture. It is when I will often have break-throughs. I now make simple yet daring changes, searching for the essence of the form by decluttering and removing distractions. The fleeting inner reality and story fashioned in clay are then transferred to bronze.
The foundry where I work with the studio artisans uses the lost-wax method. It dates back to the third millennium BC. I choose to work in bronze because it’s a material that lends permanence and strength to the form. After a few months, the piece is ready for the final touches. I choose the color of the patina and decide how it is to be mounted. I also create a suitable base for it. When the sculpture is complete, it takes some time of observation and reflection to title it. My work often invokes human forms in connection to nature, but I leave the viewer free to find their own meaning. Part of the magic of non-representational art is that it invites an ongoing conversation with the viewer. The creative process continues, even once the strength of the bronze has fastened the moving form in space.
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