specialised as a craftsman in stonecutting, in a very personal and distinctive version of abstract modernism, with strong architectural features; also casting in bronze and other materials. Recently his focus moved to rough wood, worked with colorfull paint in lively shapes
I started reading Lars Spuybroek’s “The sympathy of Things” to find an answer to the question why, in a recent interview, he qualified abstract art as a horrible dogma, and linked modernism to genocide and the holocaust.
In the same interview he said to have changed his architects practice for writing, because designing went to slow and writing is more precise than building. So my expectations were stirred.
