It was there that I created my sculpture ULTIMOSCH, named after the late novel by Günter Grass, a literary requiem for civilization, identity, and the human condition.
Kelburn Castle is a place seemingly lost in time. Originally built in the 13th century, it is one of the oldest continuously inhabited houses in Scotland.
But it is not only of historical significance, it is also a bold artistic statement: in 2007, the very year of our symposium, the castle’s exterior was transformed by a group of Brazilian graffiti artists, who covered its façade in large, colorful murals. Granting permission for this project was an act of courage and it made the castle world-famous as a symbol of cultural openness and transformation.
That vibrant energy was tangible in every corner: between the old library, the creaky staircases, lush parkland, and vividly painted towers, we had a fantastic time. As artists, we were given full freedom to explore, live, work, eat, play, to exist in and with the castle.
Those were days filled with lightness and community. I fondly remember our table tennis matches in the “lounge”, which we had installed ourselves and were immensely proud of! Midnight ghost hunts in the castle halls, walks across the horse pastures, and deep party conversations over candlelit. I think back to our trips to Glasgow, the delightfully cold Scottish nature, the deep-fried Snickers, the pungent canned fish, the ales and pints in tiny local pubs, it was all simply freaking out wonderful.
My sculpture ULTIMOSCH was born from this mixture: from literature, surroundings, existential dread, but also quiet comfort. The sculpture shows a hybrid creature, somewhere between human, animal, and idea. Spiral shapes run through the form, suggesting evolutionary movement, perhaps mutation, perhaps reversion. In one version, a face emerges from the stone, framed by tentacle-like structures, evoking Medusa, but also a sense of inner entrapment, or the relentless growth of the unfamiliar within the familiar. On the back, a small rat with “Ultimosch Ultimosch” on her lips peeks her curious face out of the cornucopia, the now-empty vessel of our worn-down humanity.
This work was far more than an artistic exercise for me. It was an expression of a very specific moment in time, one that marked the beginning of a slow journey to regain my hope in humankind.
I am deeply grateful to Tom Allen, the organizer of the symposium. His trust, generosity, and belief in the power of art brought this place to life for us. And I am thankful for the friendships that were forged there and still endure today: Duncan Robertson, the Scottish sculptor with sharp eyes and a warm heart; Laurent, the quiet, precise Frenchman with a deep sense for form and balance; and Nils Hansen, my German comrade for a few formative years in Carrara and all of all.. Bogdan!
Today, ULTIMOSCH stands not only as a sculpture, but as a personal vessel of memory. A reminder of a castle that opened itself to change. A reminder of a time when art, freedom, and friendship were joyfully celebrated even without the omnipresent filter of social media. A beautiful happy time!
Kelburn Castle (Scotland) 2007
