Große Kugel

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.

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".

The giraffe is the epitome of grace. Sublime, it already spies friend or foe from afar. Even in ancient Egypt, giraffes were believed to be oracular beings with shamanic abilities. And truly, their size of up to six meters and their sharp eyes alone make them the epitome of looking into the distance. Ser(u), the Egyptian word for giraffe depictions, still means "to spy" or "to look into the distance", but also in a symbolic sense "to foretell". The sculpture by Daniel Bucur is carved from yellowish wood, polished and covered with shellac. The way the giraffe's fur is rendered is also remarkable. Although the spots are missing, in shape and form the human mind immediately recognizes a giraffe. A certain dejection can be seen in the figure. A visible sign of vulnerability. For although giraffes are the largest land-dwelling mammals and they possess the vision of distance, they are very delicate creatures. Loved and hunted. In the past, the long sinews were used to make musical instruments and bows, and the fur was a status symbol. Nowadays, giraffe hunting is purely for the pleasure of big game hunters. The World Conservation Union IUCN has therefore placed the giraffe on the red list of endangered animals. This sculpture is intended to draw attention to the protection of these graceful creatures.