Steatit, lime stone, wood, metalls, metal scrap, rubbish of our “modern throwing-away-mind”, argillaceous earth.
2.Tools to handle with stone
Rasps, files, STOCKERHÄMMER, srew drivers, special tools, chisels, sponges to polish, steel wool and some times electrical smootheners.
Frederik Egold has diffeerent ways to start his work:
(1) At the beginning was the material itself
Frederik is inspired by the material. Examples: KLANGGEWÄCHS, Licht aus der Dose, Elephant, fantasy- animal or: Blind, Two
(2) At the beginning “I was”
The feeling, the thinking, the experience. Examples: Dead Knight, Shaman, River Ghost, Wraith of the Ronneburg, Dragonslayer, dragon made out of ship- and truck- motors and other metal scraps, sounding tree and so on. Ideas to creat landscapes (lakes and forests where his sculpures dwell) and so on.
In all of his work he expresses his love to life and his refusal of every kind
of destrucion of any lifeform, and his anxiety of the destruction and killing of life. Death and hurt, vulnerability and imperfection of man, his own imperfection and the fear of being more hurt and even his own death or the fear of loosing persons and objects are all engraving on the work of Frederik Egold. Although they are not the product of ratio, they are the product of his process to handle with his own harm and the harm of other (killed handicapped persons in the 3. Reich, killed soldiers, Indians, cowboys, knights, exterminated animals, destroyed forests and so on).
He is obsessed by keeping and preserving everything
mit Liebe im Herzen und
Friede in den Gedanken um
Harmonie auf Mutter Erde zu bringen“
With this indian message of his “Blutsbruder” Xokomoschtl, last of the living aztec chieftains you could describe Frederiks philosophy of life.
Frederik became acquainted with Xokomoschtl in Frankfurt /Main before some years, when the chief with some of his people travelled trough
Europe to reclaim the stolen treasures of his aztec people. Frederik experienced for the first time, how foreign men treated him with respect and trust and accepted him as a person, even if handicapped.
The friendship was expressed with “Blutsbrüderschaft”.
This experience hardened his deep bond with the Indian way of life.
Wars, destruction of humans and nature, which are transformed in sculptures like dead knights, dragon slayers, wood of life and so on, often result in deep and hard emotions, together with bad dreams, epileptical attacks and “hasty” verbal communication.
His thougts and emotions are often much faster than his tongue and more complex, sensible and intelligent than his possibility to express verbaly allow him.
Although he has often lost his spell, his work doesn`t loose it.
The objects stimulate people to communicate with the objects.
The holes “Durchdringung” of his stone sculptures invite people to shake hands in the holes to make sounds with it and to ply with the sculptures like he does. His steel sculptures are made to invite people to make sounds
with it and to make music- they are “sound- sculptures”.
In doing so, his objects should be made “speaking” what he cannot express.
His attitude to his work and to art in common
His work for him is life itself. Without it he cannot live any more. It is as important for him as eating and drinking are.
It is also very important for him, that his work is respectet by others like the work of every other artist.
Frederik appreciates it, when others appreciate his work und buy it, but he hates vernissages and he hates it, when others speak about him in his presence about things he does not understand and seem to be irrelevant or even wrong. He hates it more, when these persons do not introduce themselves and when he does not know what these persons want.
He loves it in contrast to communicate with other artists and work together with them, the more when these artists are handicapped like he is and when tey accept him and treat him with love.
Problems, fears, wishes and hopes
At the moment Frederik Egold has no chance to work together and communicate with other handicapped artists.
Before his illnes got worse Frederik worked in the “Werkstattgalerie 37” of the Stiftung Blindenanstalt. There he was the only handicapped artist, who is creating and sculpting as his business.
Now he works in his “Atelier” in Limeshain alone, where he only holds contact with some other artists for a few days in a month.
The more he is the only more than once handicapped artist in the county of Hessen who is after a long struggle, allowed to do so and in Germany he is the only blind and more than once handicapped artist to be allowed to work as an artist.
In the county of Hessen it is forbidden to work as an artist, when you are more than once handicapped , because in Hessen there are no workhsops for such persons.
In Hessen handicapped persons are “pressed” to industrial production works.
Frederik wished to work nearby his living place in a workshop together with other handicapped artists and to live together with them in a home which does not exist in this form in Hessen- in other counties like Bavaria this is possible.
This dreams of him are now nearly gone, because his state of health because of NCL has grown worse. He cannot walk anymore and needs more intensive help and can only work for a few hours a day.