Your work often references elements from the animal, plant and mineral kingdoms. Where is your interest in these forms derived from? I am greatly fascinated by the many strange things that populate the world. I have unconditional enthusiasm for the things created by nature. It is these things – from shells to a whale tooth – that I collect and bring back from my travels. For me, nature, with its incredible wealth of forms, is like a model, from which I, as a sculptor, can learn a lot. But, of course, such models in art need to be broken again. When looking at my works, one often thinks at first that they show something natural, and it is only by taking a second or third look that one realizes that there is something else behind it.
For me, working as a sculptor is essentially about engaging with that which is provided by nature, which can only be recreated in a very complicated, elaborate process. If you take nature as a model, your result will always be worse than nature itself. For example, using my materials, I cannot model a plant that sways in the wind like a real flower. Evolution has mostly reserved for itself the static properties it takes for that. If I wanted to bend plaster, it would break right away.