The following writing is his contemplations after carving the piece in the small town of Valga summer 2024.

“Our practice is intuitive, striving towards freedom and ending up in honest works of our interests. Each work is different but some are just a bit more special. In this case, ‘Golden Hair Wing’, if we can call it like that, is something I'm very grateful for, its making process was a meditation, a contemplation. In these ruminating moments of making the piece, it showed me something I’ve been feeling in the back of my mind for some time, and whilst it's very subjective, or personal to me, I still feel like sharing the story, the thought.

The project started from a fascinating feeling I got from a sculpture I saw online, it was ‘La Belle Allemande’ by Gregor Erhart, painted sculpture of Mary Magdalene from the 1500's. And at the same time I was reading parts of the book by Georg Büchner’s “Lenz”, particularly one passage from this book:

“As I was walking in the valley yesterday I saw two girls sitting on a rock. One was putting her hair, and the other helped. The golden hair hanging down, and a pale, serious face, so very young, and the black dress, and the other girl, so careful and attentive. Even the finest, most intimate paintings of the old German masters can hardly give you an idea of the scene. Sometimes one would wish to be a Medusa’s head to turn such a group to stone and gather people around it”

You see these two golden hairs meeting each other here, and this meeting was something which created a wisdom to carve our time, to dive into the explorative, contemplative process of creating and learning something through effort.

Working on this object was one of the most rewarding ways of spending a lot of time on a single object. Beginning from figuring out the structure of the hair, stylizing the movement of something usually more fluid, almost ephemeral, to freeze it in time forever and find its final shape, each of this hair strands different, solidified in time forever, almost vulnerable now in its immobility, exposing its character in a single moment.

And in its vulnerability and shining beauty felt familiar to me, it reminded me of the fabulous nature of us (us who? Civilization, cultures, people, humanity?) and ability to create our own beliefs, then carry them in the most sacred, most untouchable corners of our souls. And us, afraid but trying to reach for it sometimes, and then the touch! And the collapsing feeling.

Sacred can not be touched… Truth burns the curious fingertips off.

But I feel contempt (as the vulnerability of this whole subject is beautiful in its core).

As a natural continuation of the sculpture, came into my mind our old work, a woolen blanket, with a hand and an egg stitched on it. The hands were burned there as well, it seems this feeling has been following along for a while now. One was reaching for something magical and fabulous, other for enclosed and unknown. Both complementing each other, as if it's the same touch, magnified under a different view. “