Zeitgeist auf Holz

In Germany, I watched as the line of a drawing transformed—no longer just a mark, but a carving, a rupture in the surface, a portal to a new dimension. What is this place? I asked myself. I had stepped into a different time-space, one that was reshaping me. From the moment I set foot in Berlin, I began to wonder: Could Time express itself through my art?

Inspired by the city, I sank my gouges into a new style. In some works, I abandoned figuration, engaging instead in a dialogue with the material, submerging myself in the magma of life. I raked the wood, unveiling hidden layers of reality. My perception anchored itself around a figure or two—until, to my surprise, shoes emerged, parading tacit Germanic identities.

I sought to create an image that questioned the very essence of the image itself, balancing between painting and engraving. I furrowed bas-reliefs into the wood, carving a surface that could hold the passage of time—sometimes burnishing the wood chips back into place, other times emphasizing the natural grain. Each piece became a unique matrix—an original that could not be replicated. Working with wood allowed me to touch the skin of time.

I found deep inspiration in Käthe Kollwitz, a pioneer of German Expressionism and a champion of humanity and compassion. My artistic inquiries became intertwined with thermodynamics, quantum theory, meditation, and my profound admiration for Albert Einstein—along with a fascination for the cultural ecosystem that nourished his hopeful perspectives.

Berlin asked me: Who am I? This question ignited an internal process. And here I am—an endless beginning—submerging into the fluidity of time-space, sinking my tools into the wood, in dialogue with Time itself.

Mx Watson