Plickat counts among Germany's most recognized sculptors internationally. Initially figurative in his art, his vocabulary changed after 1985 to become more abstract and cubic, though the human figure is often still discernible. Corten steel, and sometimes bronze, has been his main material of choice since 2000.
Born 1954 in Hamburg, in 1982 he received Diploma in Sculpture. Visiting professor at Universidad Rey Juan Carlos, Madrid and Faculty of Arts, Universidad Complutense de Madrid. Guest lecturer at China National Academy of Art, Hangzhou and Tsinghua University Beijing. Held over 320 exhibitions worldwide, more than 90 sculptures are exhibited in public spaces in ten countries of four continents, has participated in NordArt since 1999.
In my mind, music and sculpture can develop a very special relationship. Common to them are the rhythm and the emptiness, the void. This emptiness is in the music as the silence between the tones, in the sculpture it is the empty space between the forms. It is this emptiness that forms the rhythm in sculptures as well as in the music. Both types of art share also the dynamics: the change between the extremes as the loud and the quiet, the fast and the slow, or the powerful and the delicate and fragile. In my big sculpture I tried to transcript the music of the Waltz A-minor from Frederic Chopin into my sculptural language. Of course, far away from the categories of right or wrong, this is a very personal interpretation. Everyone can feel free to do his own interpretation. Listening to this particular music, first I feel the circular movement of a waltz changing its sped permanently, so I translated this circular dynamic into the composition of my sculpture. Then I tried to capture the specific changes in speed, the dynamic differences in volume and the extreme changes between mightiness and fragility. If you want, you will feel in the circular composition your own dynamics of the empty spaces between the forms as active part of this composition.