Paloma Varga Weisz
Okay, limewood is for me the — I mean it’s the classical carving wood, especially from this period of like Riemenschneider or Middle Age stuff. And it has not so — it doesn’t have a strong texture. So, it’s very neutral in a way. It has a nice color, and it has a neutral surface. And I think the way the works are looking at the end, I never had an idea in advance how it should be at the end. It’s such an intense process, carving. And I really need to work as long as I’ve got a connection to the work.1 And then these faces end up looking a little bit like characters from this time, it’s maybe then that suddenly a connection has been built to me, or to my soul. And I just let it flow. I don’t have — I think I have my preference to make a laughing face in wood, it’s technical work for me, but I don’t know how to do it, and maybe that’s why I don’t want to do it. But the kind of characters are never set up from the beginning when I start.