At your exhibitions I have noticed that your works seem to tempt the observers to touch them, tug them, pod them and even walk between them. Does this bother you?
No, not at all. Quite the opposite actually. I am pleased. I feel that this sense of perception, the walking around, smelling and touching is a characteristic trait of sculpture.

With a lot of your works, your research has involved questioning of scientific topics. How do science and perception harmonize? Isn´t this a contradiction?
Your question sounds as if questioning scientific character would exclude perception. I really enjoy questioning and finding answers. It is about recognising the most intensive point of the perception of a work and being most
suitable for the work.

Really noticeable for me are the opposing forms in your work - on the one hand naturalistic, organic, soft forms and on the other hand geometric, crystal creations. Are these not different worlds?
No not at all. There are only several possibilities in order to show my intention of the work. It doesn´t mean you can´t have one without the other. You can see this clearly in the "Waterwork" or the "Sheepheart".

Your works are made of concrete, latex, iron poles, glas, feather, water etc. You seem to avoid the typical sculpture materials. What kind of a role do the materials play in your work?
Quite a big one. The contents of the work is in the foreground and then I look for the material that seems right. If I want to make a sculpture that is important to do in stone - then I make it out of stone. I always find it a challenge to use new materials and find out their limits.

I haven´t had the impression with any of your works that they demonstrate the solution of a formal problem. Water, movement, a form beeing created through the loss of form e.g. your heads, seem to play a big role. What do these movements and changes mean to you?
The loss of form, ... the reversing of form, the turning the inside out, the inside and the outside are always contents that seem to return. The dimension of the movement is interesting regarding the bodily experience, the dynamics and the limits that I know because of both my work with artistic processes and my knowledge of competitive sport. The movement with respect to time, the flowing, the progress and the changes are also interesting.

Is it just my impression that your works with raw materials and gentle colour tones seem to create a relaxed concentrated atmosphere?
I don´t do it on purpose, but I think it is marvellous when one of my works has this sort of quality. This could perhaps be a definition of what I like to call "Stimmig".

Translation: I. Krampla