Norse Mythology


I am interested in making visible what I sense to be present behind the surface appearance of things, by going past the obvious. Influenced by my upbringing on a farm in Germany I strongly respond to form, texture and colour of organic material like wood, soil, rust, bones. 

Initially, handling bark and tree stumps informed intuitive structures which inspired the idea of transition and led me to study North European myths and legends, in particular Odin and his shamanic ordeal. By carefully adding and removing elements without altering them I find a naturally balanced and succinct figure which reveals its animistic, archaic power. By oversizing drawings of animals, material or tools I provoke an enlargement of consciousness and trigger a metamorphic process which in return allows me to construct figures related to the symbolism of Norse Mythology.


Tree of life

Theme Tree of Life

Yggdrasil, the tree of life, a living cosmic axis linking the soil of the underworld with the air of the otherworld. Yggdrasil holds the eternity of knowledge. The god Odin hang himself for 10 days into the tree. He gave himself up, to become one with the tree and absorb its wisdom. 

An uprooted tree sits on a reversed metal bucket, eaten away by a rusty hole. These manmade objects in their liminal state of being reclaimed by nature serve as a metaphor to the cycle of life, and challenge the supremacy of the human being. Our impact is useless to nature.

I liked the similarity of the material, one man-made (bucket), one found in nature. Their similar colour scheme and texture give them a sense of unity. Each object on its own would have been destined sooner or later for the scrapyard and landfill, because they had reached their end of lifecycle and therefore lost their function in everyday life.  Combined they become a different object and bear a poetic meaning. They remind us, that there is no end in a cycle. Modern Consumerism dictates an end of lifecycle, a notion inexistent in the natural world. 

Theme Teutonic

Teutonic is made out of the skull and vertebrae of a young deer, a metal castor, a metal handtool and wire, fixed to a metal plate. A wire rolls off an upturned metal castor through the vertebrae bones, is hold up by the two legged opened hand tool with a spiked head (echoing the spine vertebrae) and finishes its ark in a deer skull, dangling just over the bottom. This sculpture wants to evoke conflicting feelings of light and heavy, dark and light, strong and fragile, male and female, organic and artificial, menacing and nurturing.
The term ‘Teutonic’ refers to an ancient Germanic tribe which is now extinct. Used as an adjective it describes anything having qualities that are regarded as being typical of German people. All objects have been found in Germany, the deer bones discovered in the underwood of a German forest still present traces of green fern. The sculpture seems to belong to a time long gone by. It exudes a feeling of extinction. The duality of its composing material is echoed in its underlying ambiguous metaphors for what I call typical German qualities. The heavy metal and the tools stand for weight, solidity, resistance, stability, technicality and invention. The deer embodies mythology, mysticism and duality. The fragile structure represents German romanticism, poetry and vulnerability. The Teutons have disappeared a long time ago.