Creation of my artwork

My thoughts before / during the creation of a work of art

I look for a stone, which I either find in nature or buy from a special stone dealer. In this purchase I must feel that I can breathe an identity into the stone and create a statement that later viewers can understand or be captivated by.

When I then have a new stone, I first think about where above or below, what should be back or front. I always take into account the colour gradients in the stone, its grain or layering when creating the work, because they have a significant influence on the statement of the work.

From the raw stone to the first model

In a calm and relaxed atmosphere I take children’s modelling clay and start to reproduce my ideas of the work in this material as a model. The raw stone lies in front of me, so that I always have its proportions and outline in mind when modelling. The resulting model is usually on a scale of 1:5 to 1:10 to the later work. When modelling, I often do without too much detail; it is all about the basic lines and expressiveness.

New thoughts flow into the model

If I then consider a model to be successful, I consider what changes I could still achieve to increase the statement, to increase the tension in the work. For this purpose, I usually create a second model in which these new and further thoughts are represented.

When I look at two or three models, I feel more confident about which form I choose. This feeling of security before starting the stonemasonry work is very important to me. Doubts or lack of plan do not lead me any further, they even hinder my creativity. Subsequent, serious changes to the work are often mentally difficult, as other artists also tell me time and again.

Little leeway

At the beginning I work on rough structures and proportions; the deeper I penetrate the stone, the more fixed the form becomes. The scope for experimentation is not very high when working with stone, otherwise the statement might slip away from me or a work might not appear as a whole.

I am often surprised how small changes in line have a massive effect on the way a stone is seen and expressed. This must be continuously followed and maintained so that a work becomes a harmonious whole from my point of view.

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