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Daniel Bucur says of this sculpture: "Connection is not always a touch; sometimes, it's just a good feeling." The artist aims to direct the viewer's eye to the center. It appears as though the carved oak elements are in contact with each other. However, this touch is elusive; intimacy is derived from the turned and intertwined shaping.

The smooth surface of the inner part is contrasted by the rough texture of the outer form, amplifying its effect. The frame is made of wood with a surface cut with a grinder and then stained red. Crafting the inner part with great care required a considerable amount of time. However, time is not a measure for Daniel Bucur. No matter how long it takes, he works until the emotion he desires emerges. He forgets about time; it is subordinate to the result. It's not the idea but the feeling that determines the form.

Daniel Bucur's immense joy over the completion and his pride in the central heart are palpable. He names his sculpture "Connection."

More sculptures

Victory - Sieg

V for Victory. This sculpture stylizes the two outstretched fingers to form the letter V. In this sense, the gesture was first used during World War II by the English BBC, which broadcast it into German-occupied Europe as a harbinger of the Victory campaign. Iconic images from world history featuring the two extended fingers include figures like Winston Churchill and Dwight D. Eisenhower, both individuals who were aware of the power of strong symbols.

Daniel Bucur crafted this sculpture very intricately with a chainsaw. From a solid block, he cut numerous horizontal slots into the wood from two sides. Finally, with a large vertical cut, he created the two fingers. Each finger is composed of many wood leaves held together by a continuous web on the inside.

Victory in this sculpture is depicted as a fragile symbol. It must be hard-fought, and not only the loser pays a high price. Moreover, victory is not always everlasting.

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Der Weg

On our life's journey, we continually encounter two crucial signposts: our strengths and our weaknesses. It's precisely this inner conflict that we locate in this sculpture by Daniel Bucur.

The artist, with remarkable sensitivity, has used a bandsaw to cut into a piece of plane tree wood on both sides at regular intervals. Warmth and cold also affect the life of the sculpture. The line is set in motion. During the crafting process, the piece split at one point, and Daniel Bucur mended this split with pins.

The intervals are uniform, and the object appears fragile, unpredictable, often wavering. Most importantly, the path emerges, sometimes life takes a turn, and then it goes straight ahead again. Just like in our own lives, when looking back at our life's journey, we don't always view it in the same way. Sometimes, we are more forgiving with our own biography, while at other times, we judge ourselves more harshly and waver.

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No Name

Imagination is an important and pronounced ability in artistic creation. An artist shapes, transforms, and, above all, playfully encourages contemplation. They turn an unremarkable everyday object into a work of art, making the mundane interesting. Often, the thought processes are understandable and clear, but sometimes the artist lets their hands work intuitively, resulting in a fantasy construct that leaves the viewer with many questions. However, one thing always runs through artistic endeavors: the creation of something new.

Here we see the sculpture with the self-assured yet defiant title: "no name." Daniel Bucur carefully examined the piece of wood; the muse kissed him, and he let his hands run free. He was in the "flow." This artwork is just as important to him as any other. It is an expression of his manual work. His hands created different surfaces, combining smooth and rough in one piece.

But what does this mean for the viewer? We, too, can set our imagination free. We can free ourselves from our object-oriented thinking, discard our prejudices and preconceived opinions like blinders, and, free from distraction, contemplate the form. We can let the material and surface texture speak to us. And, just like the artist's work, our thoughts can enter the "flow" in this process.

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