The essential property of nature is continuous change. Everything lively is in motion.My artwork in nature consists of materials I have found in my artwork's natural environment or just in the art-objects's surrounding. Thus even these are submitted to processes of change and necessarily transitory. After having finished the photographical documentation, I leave my art-objects to the natural processes of dissolution.

The photographs are of course just a faint response of the true articial process. The sensible and physical experience of working with nature, the poetry of a moment's fragility, have to be recognized in their own and individual actuality.

The art-work's names function as descriptions: specific kinds of materials at a specific place and time. The art-viewer may interprete and develope ideas for his or her own, while in this respect I do not want to anticipate anything. Additionally, this would not fit my way to create art-objects, as I start working without a determining concept to especially enjoy the liberty of not to think - in an intellectual sense - that arises with the partially hard physical work in nature.

I prefer to construct obvious geometrical forms, that are unambigously recognizable as traces of the human in the impression of chaoticity and chance nature gives. The strong symbolical connotations of special geometrical forms, like for instance, a circle, may offer an emotional perspective on my work to a viewer. Every place I step on leaves a trace in me. Likewise I indicate myself temporarily in fugitive signs. Men have, as I think, in his awareness of the own transitoryness, the desire to proove his existence in the world with traces of every kind.

In a time of completely delimited materialism my art offers the possibility to its spectator to bethink himself and to take a back seat. You'll only catch a glance of already passed things, things volatized, traces. You'll have to give up the opinion to have to see, to experience, to conserve everything, and accept a world, that exists with its laws of perishability and unrulability next to the artificiality of museums and their suspended history. |

hama lohrmann, march 2006 |