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Das Trampeltier

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".

More sculptures

Große Kugel

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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Die Giraffe

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.

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Prinz

Wood is part of a living organism. Wood is not playful. Only the artist demands something playful from the material. Here it is the natural structure of the tree. The artist used the trunk and the strong, lower ramifications. He certainly had many ideas, and he let his ideas mature, develop them and play with them. In the end, he wasn't sure whether it was he, the artist, or the cherry tree itself that came up with the design idea.

The result is a sublime sculpture. In a straight line, the original trunk represents the torso, its rough, yet evenly hewn structure resembling the fabric our clothes are made of. The neck rises from the mantle and merges into a level and elegantly shaped head. Under the smooth polish, the natural structure of the wood becomes visible. Multifaceted, like the facial expression of a human face. This head is crowned by the golden lacquered branches that crown the sublime figure. A prince, or perhaps even a future king?

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