Your early works are mainly made from wood. What made you transition to metal?
For me, it is about investigating the possibilities of a material. So for me, it is just a natural development in my work. Working with steel and steel pipes has the potential to develop new sculptural expressions that can give the viewer a real experience of the material. I want to create an experience of how the works, through their scale and size, can affect us.
Can you elaborate on your distinction between a design object and sculpture/art?
I don’t think there is a difference; the important thing for me is that there is a strong idea behind it.
These metal works and sculptures you are showing have required a fair amount of brute force. How was that experience making them different from working with wood? (Check out the Youtube videos of the process here: https://www.youtube.com/watch?v=nWIap8sLta8)
I work with design and art with a focus on materials and their properties. So in both wood and steel, the works can have a functional quality or a purely sculptural one. With both materials, I work with the resistance and properties of the material. I am interested in the balance between the industrial geometric shapes versus the sculptural and the organic shapes. So really the experience is the same whether it is wood or steel I work in.
Are there other materials you aim to explore and work with?
I am very interested in materials which provide resistance: steel, stone, wood etc. It could be exciting to make something from a material with less resistance such as paper, clay or fabric.
Do you desire to harness and control the material you are working with, or is it a more direction-less dialogue with the nature and proportion of it?
In previous works made from steel pipes, I have worked with a series of repeated presses with different moulding tools. In this way, organic shapes arise, which come from the deformation of the geometric shape of the pipe. I am fascinated by the properties of steel, which is extremely hard, but once formed using heat or pressure, it becomes plastic.
A parallel arises from the industrial geometric shape of the pipe to the shapes of nature; buds on trees that grow out, or the form a tree makes when it encapsulates a wound in the bark. So it is interesting that in all the works, the organic nature is lurking right behind the geometric shapes.
How did the idea about totem arise?
I think that all my works relate to nature, consciously or unconsciously. A totem for me is a work that imitates the power of nature. I use it to project this idea and inspiration onto the viewer in this given cultural environment.
See Artist Bio