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Tree The tree is the symbol of life in numerous cultures. Trees appear to be like products of nature. And yet, historically and phenomenologically speaking, they are always unique. As with fruits and the products derived from them (such as wine), each tree has its own organic cell structure, determined by the variety, the climate in which it grows and the soil that feeds it. This results in a specific scent, colour and texture. Man is like a tree : we stand with our feet in the dark earth and our body turns to the light. The tree is therefore pregnant with human subjectivity.2 A tree is the tree of life and the tree of know ledge, so says Jewish-Christian mythological tradition. Our theories, our concepts and language, our consciousness and the cultural codes of society influence our knowledge of nature. It is therefore not enough to associate Buedts’ work superficially with the gnarled crowns of pruned pollard willows ; his works are too imbedded in a personal way of sculpting and designing.
Wim Van Mulders
Development The artist prefers to work with oak, chestnut, white poplar, azobe, ash, walnut and willow, due to their specific expressive features. The wood warps, shrinks, swells, moulders, splits, twists, distorts. The sculptures therefore split, crack and cleave, exhibiting a threaten ing temporality. The sculpture displays its develop ment : This is its history and its destiny. The choice of profession indicates care and precision. Nevertheless, a motivated craftsman such as Buedts realises how uncontrollable his material remains. Light penetrates into grooves and folds, showing how a sculpture is subject to changing light and atmospheric turbulences. The dramatic contrast of light and shade directs its visual expression. Buedts seeks conflict by wounding
2. See Léonne Van der Weegen : “Der Baum, so ein wunderschöner Baum. Over bomen, troost, jaloezie en schuld”, Streven, February 2009, p. 140 - 48. The author provides insight into the significance of a horse chestnut tree in the awakening love of Anne Frank in the Secret Annex. Jorge Semprun, as a prisoner in Buchen wald, watches in fascination a lonely beech that proved to be the tree beneath which Goethe and his secretary Eckermann held their conversations. The knowledge of this fact saves Semprun from death. Van der Weegen shows that the tree, in its invincibility, is always a silent witness to human vulnerability.
pp. 102 -105 : z.t. [Untitled], 2007 Potlood en krijt op ingrespapier / Pencil and chalk on Ingres paper, 64 x 45 cm Privécollectie / Private collection Boom [Tree], 2008 Olieverf op doek / Oil on canvas, 60 x 50 cm Privécollectie / Private collection Stronk [Trunk], 2007 Olieverf op doek / Oil on canvas, 70 x 50 cm Privécollectie / Private collection Wolk [Cloud], 2004 Kastanje, acryl / Chestnut, acrylic, 52,5 cm (h) Privécollectie / Private collection
Het lichaam [The Body], 2005 Amerikaanse eik, acryl, krijt / American oak, acrylic, chalk, 123 cm (l) Privécollectie / Private collection