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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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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.

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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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The sculpture is highly abstracted, yet our eye immediately connects it with the forms of a human body. Daniel Bucur has created a human figure here. Along the vertical axis, the figure is strictly symmetrical. The two bulges are also symmetric along an imaginary horizontal axis, representing the upper and lower parts of the torso, between the shoulder and hip. Abstraction arises from unnatural lengths in their vertical orientation. The neck and legs have a similar length and are symmetric to each other. Nevertheless, the connection between the head and feet is formed without explicitly representing these two parts of the body.

The surface is roughly cut with a flex. This reflects both the sensitivity to the material and the strength and coarseness with which one can work the material. The oak wood with its charming irregularities also contributes to the overall picture. As is often the case, here, too, less is often more. The artist has succeeded in creating a body with a simple, abstract form.

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