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Friendship is an abstract concept. It requires a considerable amount of imagination to represent such words in visual art. How does Daniel Bucur approach this? He thinks about what he personally associates with friendship. From emotions like feeling connected, being in the midst of life, and a sense of permanence, the image of friendship gradually takes shape. It's a philosophical process of introspection that precedes the creation of each new artwork.

The basic structure here is a solid oak log that somewhat resembles a sail. The rough surface of the outer contour was created by the artist with a chainsaw. The lower end is smooth, the upper end is frayed. Birth and death. Light and shadow. Everything that is a part of friendship as well. The piece gains weight through the red staining, the color of blood. Daniel Bucur has thus succeeded in abstracting a very complex concept to its essence.

In the center of the sculpture, Bucur has crafted two intertwined, delicate hands. This section was finely polished. It is bright, and you can see through and reach through it.

Friendship in the midst of life. An abstract but still fitting metaphor.

More sculptures


The title of this sculpture is "Feminine." It depicts a stylized female torso with a head, lightly suggested arms, and legs angled diagonally. The form naturally emerged from the curved piece of wood. The artist only needed to follow the tree's natural growth pattern.

Breasts, waist, and hips are seamlessly worked into the contour. It almost appears as if the female figure is either rising or lingering in a seductive pose. The upright head observes its surroundings. It is polished, standing out from the rest of the figure, which has a coarser surface texture from the shoulders downward. The untreated carving texture gives the impression of clothing.

Thanks to the inherent form and structure of the raw material, it is a pleasure for Daniel Bucur to depict human figures. This fascination is palpable in numerous exhibitions by the sculptor. The artist enjoys the freedom to shape physical characteristics outside the norm with his tools, infusing tension into his figures.

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Daniel Bucur's grandfather had a small cottage in the Romanian mountains. The artist spent carefree days there during his childhood. It was an old cottage, and its windows had a pink saw blade in the center for protection. These windows have left a strong impression on Daniel Bucur's memory. The saw blade provided a deeper sense of security that allowed him to sleep well at the end of the day.

In this sculpture, the artist used a block of maple wood and carved a stylized window and door into it using a saw blade motif. The surrounding wood has been exposed and sandblasted, creating a surface reminiscent of clay. The wall is symbolized by the untreated portions.

As part of his artistic journey, Daniel Bucur has taken a trip back to his childhood with this sculpture. The artwork aims to convey to the viewer the feeling of security and comfort that he associates with his stays at his grandfather's place.

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Die Langbeinige

The sculpture depicts a highly abstracted female torso with a head and two exaggeratedly long legs. The predetermined shape of the wooden piece gives the artist the freedom to distort physical attributes and focus on them according to his will.

The narrowing of the form creates the impression that this sculpture consists of an excess of limbs and is excessively mobile. Tension arises because it is not clear how stably the woman stands on her feet, and one can imagine the possibility that she is balancing on stilts.

The piece is made from a natural forked branch of a white beech, a very hard and durable type of wood. Daniel Bucur stained the surface orange and then added carved dots that expose the light wood underneath. This creates an exotic aura that reminds us of tribal art. Throughout human history, wood has always been used as a primary material for art objects, allowing the artist to draw from a rich repertoire that leads to intriguing associations: Africa, long-legged, giraffe.

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