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Wine is one of the earliest plants cultivated by man. The beginnings of viticulture go back about 7,000 years and originated in Georgia and Armenia. And even today, a walk through Vienna makes one aware of the central role of wine in our social life.

Even further back than the cultivation of wine, man's connection to wood as a material of use goes back much further. Next to stone, it was the first material used by early man. Easily available, easy to work with and highly useful in its application. A similar picture can be found in the modern city. From utilitarian objects to ornate decorative furniture, wood is an indispensable part of our everyday lives.

Daniel Bucur succeeds here in combining two very long-lasting stories. A wine rack made of wood. A metaphor for durability. The name of the noble drop remains hidden from view. To learn it, one must approach and at the same time engage with the form of the sculpture. An oenological experience made of wood.

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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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Cherry wood naturally possesses a wonderful reddish color, and in this case, the artist has transformed it into a highly emotional wooden sculpture. It radiates and warms us as we gaze upon it. Nevertheless, it does not find rest. This emotionality is supported by the lively grain of the matte, gleaming rootstock. The irregular shape follows the natural growth and emphasizes the nervous flickering of flames.

Different types of wood also have different temperaments. Imagine if the sculpture were made of oak wood instead of cherry wood. It would never have been given the name and form of a flame. The quality of the material here dictates the direction.

A quirk of nature has brought together both the warming red of the flames and their flickering in this form of the rootstock. But it was the artist who recognized this coincidence and reduced his work in such a way that both elements, form and color, were preserved and even intensified in their effect.

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Quiet and steadfast, the two guardians gaze near and far. Nothing escapes their watchful eye. One head is slightly inclined, the other raised straight upward. They perform a responsible duty. However, you can also sense the tension: they are determined, strong, and ready to fight when necessary.

The artist carved this pair of figures from two elongated pieces of oak wood. They are rugged characters, as emphasized by Daniel Bucur through the coarse surface carved with a chisel. The challenge for the artist was to depict the tension between calm and vigilance. He was aided by the natural growth of the wood, which had a bulge. With this deviation from straightness, Bucur conveys the pose of readiness. The artist drew inspiration from the monumental bronze work "The Reunion" by Ernst Barlach, which depicts the encounter of the Apostle Thomas with Jesus after his resurrection.

For the owner of the sculptures, the question also arises as to where to place them. They have a completely different impact in a small room compared to a wide space. With their energy, they dominate the space. The two guardians simply cannot forget their duty.

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