For me critical artistic examination is on the one side formal, talking art theory and art history into consideration. But on the other side it is expression of emotion, self-awareness, and self-control, not omly as applicable to a person but especially to the investigation and recognition of general fundamental structures and interactions. I am convinced that all outward structrues and patterns, whether scientific, social and political, or religious, are reflected within us human beings, within our "inner space" so to speak, where correspondents are to be found.
Thus, the exploration of my inner world, my response to the perceptions of my senses, is the source of my artistry.
According to my sensibility, three-dimensional sculpture as spatial phenomenon, physical structure, and real material, is the ideal vehicle to convey a notion of the inner world to the outer. For me, the question of modernity is beside the point because the real subject concerns questions and problems that have appeared at all times in the history of mankind, in various shapes to be sure, but comparable in essence.
As a manifestation of the order of natrure, life is characterized by ceaseless structural change, is, therefore, a dynamic process. Thus, the goal I seek by means of art is practically parallel to my goal in personal life - it is not the "ultimate realization", but just getting as close as possible to the dynamic process. And this approach occurs through the growth of consciousness,, which is nourished in turn by artistic investigation, primarly by practical exercise, i.e. by doing and then reflecting opun what has been done.
I see myself as working within a tradition of thousands of years old and which has brought forth an extremly rich language, the vocabulary of which, I am convinced, is far from being exhausted. The language of sculpture, however, in comparison to that of modern multi-media forms of expression, is a rather slow and silent disclosure that requires time and quietude for reception. Besides that, sculpture (as a form of expression) leaves up to the recipient the choice whether to enter into communication with it - or not. But just what does this "language of sculpture" consist?
In my opinion, sculpture speaks emotionally, which is so to say that through the physical three-dimensionality of sculpture, our bodies sense or experience is physically. Each sculptural element - material, shape, space, construction, and rhythm - has, in my experience, its counterpart in experience accumulated in the human body.
Thus, the material of sculpture corresponds to the fleshy human body; the form to emotionality; space to spiritual room; construction to rationality. Of course, this can`t be simply transferred one-to-one in each area. It is a complex whole. Perhaps sculpture always does have something to do with the body or the figure, as Tim Scott once asserted. In my opinion, it does; however, not only in physical appearance, but certainly in inner experience as well.
For this reason I take natural materials for my sculptures, for these etablish a direct relationship to traditional sculpture. I can`t imagine working with some material that I wouldn`t enjoy touching. I believe that deep within me is an affinity to stone, since this material has always fascinated, inspired and challenged me. Somewhat later I came upon wood as a vehicle for expression; it was when I recognized the vitality and dynamism, i.e. the potential for suspense and excitement inherent in wood. I feel that that which makes working with these two materials especially exciting and rewarding is the possibility of combining the sculptural techniques of building up (construction) and taking away (sculpting).
I use iron (or steel) because of its hardness, which contrasts to its surroundings, and because of its flexibility, i.e. the potential it gives in an open area for being a "drawing" and for being a physical presence, too.
I have a strong feeling now that material is far less important to sculpture than it is usually made out to be.What really happens is that sculptures find the material to fit their conception.They don`t find a conception to fit a material.But a lot of people imagine that that is what happens, the sculptors fall in love with a particular material - wood ,stone, steel or whatever it is - and then they make sculptures, they make ideas to fit the material.
Tim Scott, interview with Erich Franz and Michael Pauseback, Cat. Kunsthalle Bielefeld et al 1979/80, p.26
Drawing for sculptors poses the dilemma of being at the same time the perfect medium for the observation and recording of visual information in the physical world, whilst also being the least capable of recording truly three dimensional sensetion.
Historically it has attempted to overcome this handicap through the adoption of highly developed illusionist techniques; but we have all observed how drawing loses its graphic power and simplicity as a result.
As a sculptor, i find drawing incapable of simulating the truly plastic visual sensations that only a three dimensional material, active in space, can convey; but at the same time i enjoy it as a wonderfully direct physical medium in itself, with its own, quite different world of plastic and spatial effect.
Tim Scott, in a letter from the 14.3.1997
Art has to penetrate into the spirit of nature and, just as nature does, create beings whose forms and lives become independent.
A sense of gravity, of a strong relation between the form of the object and the ground on which it lies, has been central to the most vital modern sculpture since Rodin. Gravity unites sculpture and spectator in a common dependence on and resistance to the pull of the earth. Materials and structure, volume and space, the unity and proportions of sculpture, do not speek for themselves but articulate a complex and profound sense of our own being in the world.
William Tucker, The Language of Sculpture. London,Thames&Hudson,1974, p.145
Like the body of sound in music that displaces silence with excitement, the body of a sculpture could not exist without the emptiness of space. In this emptiness, the vibrations of the form extend beyond given limits and both, the space and the body of the sculpture produce together out of all possible shapes their final figure. The rhythm is determined by the form, but it exists just as well in the intervals of its modulations, its variations.
Christa Lichtenstern,"Chillida und die Musik",Wienand Verlag, 1997, p.8f.