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Zwei Vögel

The chick hungrily stretches its beak upward. I wonder what the mother bird will bring to feed? The sculpture is narrow and vertically arranged. We see two birds, their heads and their long straight beaks striving towards each other. Below, the young bird, dependent and greedily looking up. Above the caring mother, looking down with love to the child.

The object was made from an elongated piece of linden. A tree that was considered sacred to the Slavs and Germanic tribes. Often a linden tree was located in the center of the village square and symbolized the place of conviviality. Dancing, gossiping and living took place under them. But also jurisdiction took place under lime trees, which in ancient times were considered trees of truth. This indissoluble truth of unrestricted motherly love and the sincere trust of her offspring is symbolized by this sculpture in an excellent way. The rough surface gives the pair of birds a natural look. The slightly yellowish coloring is a reference to the matte sheen of the feathers. From the tree of life and truth, a symbol of dependence and symbiosis was created, which is given additional tension by the separation of the two beaks. Helplessness, caring and the feeding of natural needs are depicted in a touching way. The chick hungrily stretches its beak upward. I wonder what the mother bird will bring to feed? The sculpture is narrow and vertically arranged. We see two birds, their heads and their long straight beaks striving towards each other. Below, the young bird, dependent and greedily looking up. Above the caring mother, looking down with love to the child.

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The sculpture consists of a piece of oak in its entirety. The material refers to the protagonist's toughness in facing the world with resistance. Head slightly tilted, as if naturally grown, a thoughtful mind can be glimpsed under the surface of the simple-minded. The rough-hewn structure seems repulsive at first sight, but it shows the emphatic features of one drawn by fate. The irregularity of the grain on the sitter's face, marred with holes and inclusions, underscores the fearsome features of the Hunchback of Notre Dame. Branches sprang from the center, these places now form the eyes. The surge of blood, of love is underlined by the orange stain. The tragedy of the sculpture resembles the turbulent end of the novel: Esmeralda is executed and Quasimodo dies in an unexplained way, in his hands the dead lover.

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The fascination of forming a new sculpture from one piece is palpable in this large sphere. A Viennese ash tree, which had to make way for a new road, is the basis for the large sphere. The diameter of the ash tree was 1.3 meters. A strong trunk with a clearly visible main crack.

The massiveness of this sculpture catches the eye. With a diameter of one meter and in a spherical shape, the former tree presents itself to the viewer. And yet the sculpture seems questionable. The main crack, which expands or contracts depending on the temperature, contains liveliness. First shown at the WeinWerk in Gols (Burgenland), the artist was concerned at night that the sphere might roll onto the street and damage a car there. But it remained steadfast at its exhibition site and to this day appears sublime and yet fragile. Much like our mother earth.

The proven 17,500 holes drilled add sophistication to the sculpture. The spacing is finely tared and elicits admiration for the artist's infinite patience. Finely oiled and polished with shellac, Daniel Bucur's sphere has been given a protective shield for the future.

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The entire surface of this sculpture, which depicts an oaf and its rider, is covered with fine grooves. For days, Daniel Bucur circled the wet green chestnut wood with a special V-footed chisel, drawing line after line.

The uniformity of the fine grooves was only made possible by the moisture in the wood. For Daniel Bucur, carving is the epitome of tranquility. He feels united with the world, there are no considerations. The head is free. It is the same with the long walks of the camels through the desert. Step by step they cross the dunes, the endless sand. The loneliness of the work and also the loneliness of the camel in the desert is palpable. Friedrich Nietzsche ("Thus Spoke Zarathustra") also saw in the loneliness of the camel in the desert the path to transformation: "All this heaviness the heavy spirit takes upon itself: like the camel that hurries laden into the desert, so it hurries into its desert. But in the loneliest desert the second transformation takes place: here the spirit becomes a lion, he wants to capture freedom and be master in his own desert".

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