You began working with metal rods in the 80s, later you switched to wood - would you describe your evolution as a progression towards a more delicate, organic, even fragile esthetic? My first body of work when I used metal rods and mirrors now reminds me more of Dali or Miro. I recognize my gesture but it is not yet accomplished. Only when I started using wood, especially MDF in my layered fashion, did I find my way so I could say to myself: I have come up with something original and meaningful. Most often my work evolved through commissions: I consider them gifts because they propel me to make new discoveries.
interaction of line and space. I focus on creating pieces that envelop an area. How would you describe the ratio - maybe tension - between intuition and conceptualization? I don't really create through conceptualization. Having gained more of a perspective I could now explore the Meanders series further intellectually but most likely I'll rather discover new directions in the process. What amuses me is that my work always finds its way on its own. Something completely unpredictable may influence my future work - it could be an accident or an unexpected commission, for example. Could you talk about the aging of the material with use? The naked plywood has a vulnerable feel to it; it seems a bit like a semi-industrial, semi-natural material looking for a second skin that you intentionally refuse.
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In my more recent work I have become more sensitive to the