Biography

The work

How a figure comes about

It starts with an inner impulse — an event, a sensation, a memory. From it come many drawings in which I playfully explore how humans and animals meet; everything is allowed to mix. The inspiration comes from the space between the shadows, and from putting myself in another being's place. Working directly on the log means expressing that sensation immediately. I hope the final result stays true to the initial impulse.

The work as a path

I don't primarily find the work physically exhausting. It helps me sort out my thoughts and let go a little; the world around me recedes for the moment. You could compare it to mountaineering: following the path to the summit without falling — and the next mountain is already waiting. That comes from growing up in the Bavarian Alps. This natural quality shows in my work, with a touch of humour. Humour makes a sculpture lighter. Humour and seriousness both matter to me.

Moment and expression

Because I work fast with a chainsaw, every sculpture becomes a snapshot in time. There are no limits to the imagination here; Expressionism and Impressionism are constant companions. Each work is unique — some expansive or quietly introspective, others raw and explosive. Often it turns out along the way that a particular drawing belongs in exactly this piece of wood. Anatomical precision takes a back seat: hands, feet, torsos or heads turn out oversized, because carving out the expression comes first. It stays a balancing act between the free flow and the form I intend.

Names and titles

The names usually reveal themselves while I am carving — sometimes spontaneously, sometimes an idea has been lurking in the back of my mind, waiting to emerge. Sometimes it fits, sometimes it doesn't. Colour helps me accentuate the work further. The title is a vehicle: it should let the viewer sink deeper into the sculpture, and perhaps spark a new train of thought.

The wood

There are many beautiful woods. Which one I use depends greatly on the size and the intricacy of the work; different scales call for different trunks. Some are hard and rigid, others soft and light, others again striking for their pronounced grain and their own hues. They also sound very different. I like that. And they give off a wide range of scents, some pleasantly sweet. There is no one-size-fits-all formula here. Much of it is intuition, guided by a feeling for the material — grown out of years of practice and the excellent foundational training at the woodcarving school in Oberammergau.

The attitude while working

Casual and light, with a good dose of humour — if possible. The figures should look like a loose sketch; once you have started, it is hard to stop. At the same time you have to stay intensely focused: what is gone is gone, and mistakes are hard to fix. I often envy colleagues who paint on canvas — there it is easier to correct, or to start over if things go wrong. The work itself shows me the direction, and I let it guide me. If I force something, the result is usually not good.

From craft to free art

Moving to free sculpture was not easy. My training as a woodcarver was still deep in my bones, so I first set aside the carving tools and the traditional craft, to let the habitual cut recede into the background. The Academy in Karlsruhe helped me find my own path — it is very open and free from the constraints of traditional training. A playground for many things. The lively exchange enriched everyone involved. Engaging with the works that emerged, and with the very idea of art, made me grow and shapes my work to this day.

Stefan Seitz in conversation, 2026