SCULPTURE
In the mid-1980s while still a student at the Academy, Widerberg experimented with some carved wooden figures which have superficial resemblances to Bazelitz’s savagely hacked totems. Rather than imitating either the appearance or the spirit of primitive art though, Widerberg was more preoccupied with using his chainsaw and axe to keep the form rude, generalized and unfinished.
Throughout his career, the material qualities of his sculpture have been an essential resource. When he talks about carving and “travelling into the stone” he is describing a vital process. The more intractably resistant it is, the more he enjoys the challenge. Traces of the chisel and hammer coexist with polished or faceted areas which interact with exposed, rough and abraded surfaces.
WOOD
