Andres, why is it that wood and steel fascinate you?

Andres: It's the contrast of these two materials that I find very interesting. Metal, in my case mostly stainless steel, has a rather hard and cold, almost clinical and sterile charisma. Wood on the contrary as a "naturally grown" material appears as soft and warm, it is alive and structured by rings which show the years and its age. To me, these two materials are totally contrasting each other, perhaps like the concept of 'man' and 'woman', so to speak. 

Speaking of such an example, I have to ask you right away: Can you see any similarities between the materials and yourself? 

Andres: You know, I truly believe that every human being feels somehow attracted to certain materials - one for example loves wood, the other one perfers stone an so on. For me, the preferation is changing continously. Sometimes I need wood, other times I choose metal instead for relaxing.

I think, relaxing is very important for all people in general, but especially for artists. So, what gives you the power you need? And what's taking most of the energy from you? 

Andres: Just letting flow my thoughts like an inner explosion coming out gives me a lot of power, being almost obsessed by an idea, you know. To remain true to this idea until it's finished however is hard work and costs me a lot of energy and consequence, because while I'm actually working on the sculpture, new ideas come to my mind that I want to include into the work - but often they have to wait, it's not good, you know, to put to much into one single scultpure.

You seem to be a rather sensible person who does not like to compromise that much. Many artists do have these qualities.

Andres: Yes, I think so, too. There is a certain sensibility you need but also thoroughgoingness in order to be creative and artistic, without these two ingredients, it won't work. To be sensible for things coming from "other levels" of everyday-life, to percept something subtle actually articulates the very wish to be creative, to be an artist. And eventually, there is the need for thoroughgoingness in order to create the thought, make it real, and to accept and legitimate it eventually when others see or critisize it on an exhibition, for example.

I can see perfectly what you mean. Basically, it's very much about how one sees himself and his work. What does it mean to you to be an artist?

Andres: It's my life, my destiny, my job - call it what you want. Some become plumbers, others choose a career as salesmen while others become artists. Everyone does what they think they do best. Hopefully they're right! (smiles) 

Your 'plain' sculptures, your seemingly 'simple' works are the ones that appeal most to me. In what state of mind do they emerge?

Andres: I call them my works with a 'clear language' in terms of form, and they emerge in those moments when all seems very clear to myself as an artist, when I don't try to say too much at the same time. Often in those phases my life is OK and I am capable of making a clear point, you know what I mean... when you have the time to let just one single thought flow.

A process that's not meant to be a luxury but a 'must' instead, right?  

Andres: Yes. Or an aim, at least.

Why is it that one could detect senusal erotic aspects in some of your works? Do you have an explanation for this phenomenon?

Andres: Well, I think that the sensations caused by my sculptures can be the very opposite as well, but maybe you're right in a way... My works called "Passion" or "With Each Other" too carry this reading, and perhaps my combination of two totally different materials, one hard, one soft, leads to an tension that can be interpreted as erotic dialogue between them. That's alright with me.

All the best,

Andres!

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