162

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WATER NYMPH II 2009

76 x 70 x 46 cm

30 x 27.6 x 18.1”

163

NUDE I 2010

68 x 43 x 9 cm

26.8 x 17 x 3.5”

JR: And I think that’s one of those things

that intrigued me about your work as well,

those beautiful layers within the piece. It’s

almost like skin, so beautiful, so delicate.

PB: It’s much layered. Like life. Like peoples

characters, peoples personalities. It’s very

layered. This is that specific glass you’re

talking about, that outdoor low-expansion

glass that naturally comes with many layers.

It’s transparent at points, translucent, and

all of a sudden it can turn opaque. There are

many shapes, almost like different stages,

which I find intriguing and very rewarding to

work with. So yes, in choosing the glass and

the technique, it’s always important because

it always adds to that which you are trying to

put across, that which you’re trying to express

in the sculpture.

JR: And the Transformation series, where

did that come from?

PB: It came out of the Inward Journey series

basically.

JR: Did you see it as kind of a progression

164

34 x 13 x 89 cm

8,7 x 14.4 x 17”

34 x 13 x 89 cm

8,7 x 14.4 x 17”

RELIEF 2009

69 x 65 x 10 cm

27.2 x 25.6 x 4”

WATER NYMPH I 2009

68 x 108 x 40 cm

26.8 x 42.6 x 15.8”

Working in figure,

to me, is allways

a huge challenge.

166

from that and in what way?

PB: I do, I see it as a natural progression

for me. When you look at the Inward

Journey, you see the transformation. The

transformation is there. And by being

aware of it you see transformation all

around you. It doesn’t matter if it’s the

transformation in nature or literature or

music. I love classical music and you see

how modern, contemporary classical music

has totally changed from what Mozart

did a few hundred years ago, it’s a very

interesting change in artistic expression. We,

as humans, are looking for new forms to

express ourselves. I see that as an important

transformation, as an evolution. It’s a little bit

like when you sit on a beach and look at the

waves, every wave is different and every wave

is unique and it will never come back, there

will always be a new wave, I think that’s

transformation, that’s what it’s about.

And I’m trying to show that in my work.

To me, I find that intriguing.

STANDING NUDE 2009

90 x 27 x 20 cm

35.4 x 10.6 x 8”

ICE QUEEN 2006

50 x 30 x 20 cm

20 x 12 x 8”NUDE 2009

72x 20 x 33 cm

28.3 x 8 x 13”

167

168

JR: Just those natural forms?

PB: The natural forms, you can look at them

as very superficial things but you can also

look at them as very deep expressions of soul.

JR: With the transformation, since it is kind

of more inward, what are the forms based

on, the actual geometry?

PB: To some extent they’re based on rhythm,

sometimes geometric forms, even though

they’re deformed or deforming in the process.

Even the waves, when I think about it now,

I often have waves in my work.

A lot of this stuff happens very intuitively.

JR: In the process of creating.

< ANGEL 2009

62 x 83 x 19 cm

24.4 x 32.7 x 7.5”

> NUDE II 2010

80 x 28 x 30 cm

31.6 x 11 x 8”

PB: In the process…

JR: and reacting…

PB: And also in the collaboration, I feel that

when I’m in my studio and I’m working; I’m

not an individual, I’m connected, I feel con-

nected, I feel almost like I’m channeling form

and expression. I work in a nontransparent

material, I make my models my sculptures

in nontransparent foam, then they’re trans-

formed into glass. It means in your thinking

in your process, you’re keeping in mind that

what you’re doing in the front, or in the back,

is going to influence each other. That exchan-

ge right there, I find extremely interesting,

very intriguing.

FEMININE FORM 2014

80 x 21 x 19 cm

31.6 x 8.3 x 7.5”

171

FEMALE FORM 2014

95 x 47 x 20 cm

37.6 x 18.5 x 8”

172