Stefan Seitz

Your sculptures often begin with a single tree trunk and are shaped largely with a chainsaw. What attracts you to this direct and physically intense way of working with wood?

Working directly on a wooden log allows me to express these sensations immediately and directly.

I hope that the final result stays true to the initial impulse. It‘s not necessarily to find the work physically exhausting; rather, it helps me sort out my thoughts and let go a little, allowing the world around to fade away for the moment. You could compare it to mountaineering: following the path to the summit without falling, and then the next mountain is already waiting. This also stems from my background from the Bavarian Alps, where I grew up.

Because I work quickly with a chainsaw, every sculpture becomes a snapshot in time.

Stefan Seitz | Carlos

Human and animal characteristics frequently merge in your figures. What interests you about this space between the human, the animal, and the imaginary?

In these sketches, I playfully explore interactions—between humans and animals, allowing a wide array of combinations to emerge as if in a melting pot. The inspiration comes from the space between shadows there perspective and from the act of putting myself in another’s place.

Your sculptures are given personal names such as Franz, Susi, Rolf, Emilio, Toro, or Hugo. At what point does a figure reveal its name to you, and what role does naming play in giving it an identity?

The names usually reveal themselves while I am carving the sculpture—sometimes spontaneously, or perhaps an idea was already lurking in the back of my mind, waiting to emerge. Sometimes it fits, and sometimes it doesn’t. Color helps me further accentuate the work.

The title serves as a vehicle to better immerse themselves in the sculpture, to spark perhaps a new train of thought.

Stefan Seitz | Barbossa

You prepare your sculptures through sketches, yet the chainsaw also allows for spontaneity and immediate reactions to the wood. How do you balance an initial idea with discoveries that happen during the carving process?

The artpiece, stem from an inner impulse, responding to various events, sensations, occurrences, memories, I create numerous drawings.

There are no limits to the imagination here; Expressionism and Impressionism serve as constant companions in the work. Each artwork is unique—some are expansive or quietly introspective, while others are raw and explosive. My innerself filtering, often leading to the spontaneous realization that a particular drawing fits in the piece of wood.

Anatomical precision takes a back seat—resulting in oversized hands, feet, torsos, or heads—as the expressive carving of the figure from the log takes center stage. It is always a balancing act between the free flow of artistic expression and the specific form I intend to carve.

Stefan Seitz | Franz

Different types of wood appear throughout your work, including lime, oak, yew, ash, poplar, elm, and Swiss pine. How much does the character of a particular wood influence the final form or personality of a sculpture?

There are many beautiful types of wood. The type of wood I use varies greatly, depending on the size or the intricacy of the sculpture.

What kind of Artwork Depending on the scale of the work, I need various tree trunks.

They are hard and rigid, others are soft and lightweight, or striking with pronounced grain patterns and unique hues. They also produce very different sounds. I like it.

And also give off a wide range of scents, from pleasant, sweet aromas. . However, there is no one-size-fits-all formula—no code—that can be applied here.

Much of the process is intuitive, driven by instinct and a certain feeling for the material.

Through years of artistic practice and the excellent foundational training provided by the Woodcarvingschool in Oberammergau. Much of the process is intuitive, driven by instinct and a certain feeling for the material.

There is often a humorous or almost playful quality in your sculptures despite their solid, static material. How important are humor and lightness in the way you want viewers to encounter your figures?

That natural quality is reflected in my artwork with a touch of humor. Humor helps me make the sculpture lighter. Humor and seriousness is very importent in my life.

Casual and light, with a good dose of humor—if possible.

The figures should resemble a loose sketch; once you start and it’s hard to make a break. At the same time, you have to stay intensely focused—what’s gone is gone, and mistakes is hard to fix.

I often envy fellow artists who paint on canvas; it’s easier to make corrections or start over there if things don’t go quite right.

The art itself shows me the direction to take, and I let it guide me while I work. If I try to force something, the result usually isn’t good.

Stefan Seitz | Emilio

You studied sculpture with Stephan Balkenhol after completing your training in woodcarving. How did the transition from traditional craftsmanship to an academy environment influence your understanding of figurative sculpture?

Transitioning to creating free-form artistic sculptures was not easy. Having just completed my formal training for Woodcarver, I was still deeply conditioned by it; I therefore initially set aside my carving tools and traditional craftsmanship to allow the habitual style of carving to recede into the background. The Academy of Arts in Karlsruhe helped me forge my own path, as the institution is very open and free from the constraints of traditional training. A playground for many things. The lively exchange of ideas was mutually enriching across a wide range of areas. Engaging positively with the artworks created—as well as with the very concept of art—fostered my personal growth and continues to shape my work to this day.