Keeping the Tradition Alive: Wooden Sculpture at DAF Frankfurt

What do we think of when we think of a sculpture?

A glistening perfection of marble or a stern bronze portrait?

How often do we think of wood — a humble, ancient, and multifocally traditional material?

Seemingly a perishable material, wood has been replaced by metals and stone over the ages, but there is a line of artists keeping it alive, especially in Germany.

Ever since medieval times, when wood was predominantly used as the source material for votive sculptures and crosses commissioned by the Catholic church, trunks have continued to serve as a fabric that is durable, easy to carve, shape, color, and source. For a country rich in woodland, it was a logical choice, marking the character of the local sculptural production by the choice of wood.

Centuries of Sculpting in Wood

Let’s reminisce about those elaborate gothic altars, sculptures of Madonna and Child, folk art, and the experiments early modernists brought. Although wood was never the glamorous choice, it has always been present — a reliable, durable, good option for all of the creatives who appreciated their surroundings and, consciously or not, the tradition.

Today, wooden sculptures in Germany are alive and well, as many celebrated artists have opted to give shape to trunks. We are not talking only about luminaries such as Georg Baselitz or Stephan Balkenhol, but a whole generation of artists who dedicate their studio work to working in wood.

Since the fair’s beginning, the wooden sculpture has been present at the Discovery Art Fair, but the 7th edition of the Frankfurt event brings it to focus. The fair floor is absolutely dominated by sculptures of timber, starting with Achim Ripperger’s monumental piece outside the hall.

The number of pieces carved out of linden, wawa, cedar, poplar, pine, and other natural foresty fabrics is astounding, and we will help you get an idea of how much contemporary artists explore artistic woodwork.

Timber Artworks at the DAF Franfkurt

At the entrance of the hall, visitors are greeted by the monumental sculpture by Achim Ripperger, “Uns Blueht die Freiheit” — “Freedom Blossoms for Us,” a commemoration of the 75 years of the first German constitution. At the fair, Ripperger’s work is represented in several smaller pieces at the LIMES Art Collection booth.

This imposing piece sets the stage for what is in the hall.

Right at the entrance, the visitor is greeted by an aloof company of figures carved by Jozek Nowak (ARP Galerie), arranged to reminisce of a modern social situation – together, but alone. The sculptures are finished crudely; they are tangible yet detached. The feeling they exude is unsettling, as if they were caught in time, making us wonder where we stand in our social circumstances.

Following the sculptural trail, we encounter objects and works in bronze and paper, but more woodwork awaits at the left-most corner of the hall, where creations by the renowned Stephan Balkenhol are exhibited. His work is represented by several pieces in bronze and a painting-like object in wood, showcasing his transcendental, simple, yet eloquent visual language.

Moving back, we encounter capricious creations by Ralf Klement, showing everyday objects in an odd way and proportion. They are accompanied by humanoid studies in blackened wood made by Frank Leske.

Expectedly, the human figure is at the center of attention, as many sculptors showcase their own representations. Tall and ethereal or stubby and full of character, each of the humanoid sculptures hints at a larger narrative.

Experimenting with Form and Concept in Wooden Art

Deferring from human-centric art, a series of animal sculptures in wood by Silvio Ukat complement the show, accompanied by playful miniatures. His approach to wood and color shows a unique position in wood treatment and expression, whereas the theme is more important than the material itself. Wood is almost undetectable, although it makes the essence of Ukat’s works.

As we move toward the other end of the fairground, we see a group of pious figures made by Eric Perathoner. Their reduced form and vacant stares evoke a modern spirituality, while their harmonious proportions and beautiful finish make them highly collectible.
The other end of the hall, juxtaposing the Balkenhol’s corner, is dominated by another wooden sculpture by Hubert Mussner, represented by Galaria Cater, a regular participant at the Discovery Art Fair dedicated to showing only wooden sculptures. The piece shows a man doing a yoga headstand, supernatural in size, reminding us to keep our balance while also evoking the transcience and volatility of the human form.

Finally, CP Arts is showcasing two antique Madonnas, carved in wood, painted and preserved, testifying to hundreds of years of this artistic tradition.

It’s difficult to single out each wooden sculptural work from the DAF’s Frankfurt 2024 edition — there are indeed many. Therefore, those who appreciate both the tradition of artistry and the freshness of expression in art need to visit the Discovery Art Fair and get a new sense of where the German timber sculpture stands today and also in the near future.