My sculptures address images and atmospheres derived from the collective human basic vocabulary. They embody artificially created situations which invariably and implicitly relate to various levels of perception. With regard to the choice of both materials and images I consciously use a language of symbols which, rather than camouflaging its secrets by means of a specific code, allows their revelation through the concentration on that which is plainly discernible.

This language of symbols frequently makes use of archaic objects (as for example a hut, a place to sleep or a campfire site), but also employs elements of modern civilization (such as a bus stop) or concerns itself with natural spaces seen as a home provided for mankind – resulting in sculptures usually life-sized and frequently juxtaposing two or more components. No bias whatsoever is put on the artificial or natural origin of the materials used; their individual qualities assist the transformation of the depicted objects.

Within this existential context, the utilization of a symbolic idiom also serves to establish a reference to myths and traditional forms of imagery; rather than merely reproducing them, however, such allusions provide alternative options of associations to be traced by the observer. The human quality of the places thus depicted becomes the central focus; the emergence of any irritations, displacements or alternative lines of interpretation, culminating in a situation felt to be altogether unstable and insecure, is distinctly intentional.

The emotional aspect of sculpture, its immediate, tangible quality as a bodily presence, is used in order to evoke specific associations, opening new vistas for the observer’s imagination.

Kirsten Krüger