To describe Herbert Golser as a sculptor who repeatedly succeeds in creating surprising new perspectives on these so-called "old" materials using predominantly solid materials such as wood, stone, but also metal, clearly falls short. It is not enough that he does not use traditional tools such as saws or carving knives in the process of creating his works with wood, but instead uses machines that he has adapted himself, he provokes the apologists in the contemporary art world, who essentially operate with concepts and narratives, again and again by not conveying any obvious messages.
Instead, Herbert Golser literally immerses himself in each block, especially in the case of wood as a grown material, with its veins and knots, its strength and delicacy, its colour and reflection, like a druid. In this way, he succeeds in resolving the tension between the constructive (metals) and the grown (wood) by immersing himself in the soul of his material and gradually exposing its inner core.
The result is autonomous structures, works of great balance, lightness and spirituality, whose aesthetics are both technoid and futuristic.