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Wandbild der Weg

Most of Daniel Bucur's works are figurative sculptures, making this exception confirm the rule.

"Der Weg" is the title, and it refers to the journey of life. Like a serpent, it winds gently through the picture plane diagonally. The connection to the environment is established through a similarly elevated surface structure, with the upper section above the path oriented vertically and the lower section below it oriented horizontally. Tension is created through the dramatic color scheme. The surroundings are orange, while life itself, in its most primal form, is stained red. Knots and cracks are present, but they don't appear disruptive or foreign; they are seamlessly incorporated into the abstract whole by the artist's hand.

You can truly feel the energy with which life carves its path. It advances, with the beginning and end out of sight. It is not a straight path; it is intertwined with the surface and communicates with its surroundings.

Everything appears natural. We contemplate the artwork, feel invigorated, and continue our journey inspired.

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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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The title of this sculpture is simply "Plant." From the tree, Daniel Bucur has created a plant. The hard wood appears lively, flexible, and soft. Often, the obvious can also open up new perspectives.

Robinia is a tree species originally native to North America. Its rapid and easy spread brought it to Europe in the early modern period. New forest stands developed, and today, Robinia is an extremely widespread utility wood. However, one peculiarity significantly sets Robinia wood apart from other wood species: it fluoresces when exposed to UV light.

For his sculpture of a plant, Daniel Bucur used Robinia wood. The upper part of the trunk and the large fork of a branch are still recognizable. An elaborately worked and polished part contrasts with the section that has been largely left in its original form. This arouses curiosity. The artificial and smooth is juxtaposed with the natural and rough. It raises the question of whether this connection is "natural."

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Kiss on Top

Will love save the world, or is it beauty, as Fyodor Dostoevsky writes in the novel "The Idiot"? We don't know for sure. But one thing is certain: the beauty that Daniel Bucur extracts from wood is fascinating.

In ancient Greece, the highest category of beauty was called "kalos kagathos," which translates to "beautiful and good." Beauty and truth, the exterior and interior, are interconnected. In the truly beautiful, truth and goodness always bloom. True beauty always contains more than itself; it has something transcendent.

"Kiss on top" is one of our favorite figures: pure emotion. This sensual sculpture was created with a lot of finesse and craftsmanship. Daniel Bucur reveals that behind this "kiss" was originally a worthless, partially decayed piece of walnut wood from the Leitha Mountains in Burgenland, Austria. The mouth was created purely by chance at the spot where a decayed branch protruded from the wood. The figure gains additional tension through the different surface treatment methods. It represents a connection of the imperfect with the perfect.

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