It rises majestically to a height of 3.30 meters and was crafted from carefully selected wood. The sculpture depicts a dynamically dancing figure, rising up, stretching its arms towards the sky while balancing a timeless clock overhead.
The form language of “Zeitlichkeiten” is deliberately organic (as it comes from a grown tree) and therefore inherently powerful. The long, sprawling legs stand rooted firmly to the ground, while the spine of the figure rises with bony, time-dragon-monster-like protrusions, emphasizing the drama of an ancient being. Despite the robust wood structure, the torso appears delicate and gently curved, as if the figure itself were lifting and carrying time.
The surface of the sculpture is finely crafted, allowing the vibrant grain of the wood to shine through. By preserving the natural structure of the wood, transience is accentuated , the marks of nature, the annual rings, and the grains tell the story of the tree and link the past with the present. This interplay between natural texture and artistic form gives “Zeitlichkeiten” a unique aura.
Wood is a living, organic material that embodies the cycle of life, from growth through decay to renewal.
In “Zeitlichkeiten”, I wanted to make this duality tangible: holding on to time while simultaneously letting go into the natural flow of impermanence and death that ultimately claims us all.
Participating in the symposium in Lockenhaus was a funny experience. The atmosphere of the place, the nocturnal work under the starry sky, and the wine-soaked conversations with fellow artists and their companions significantly shaped the creative process. This special mood directly flowed into the creation of “Zeitlichkeiten”.
How we as humans perceive time and how our own mortality is part of a larger cycle, that is left to each individual to decide. I hope that this sculpture continues to inspire people, moves them to pause and reflect on the relationship between humanity, nature, and time.
Time runs – Death comes.
Lockenhaus (Austria) 2012
