Born in Hamburg, Germany in 1955, Christian has been living in the United States since1978. Building on a foundation laid by a furniture makers apprenticeship in Germany in the middle seventies, he studied sculpture and drawing first at the Museum School in Boston and then at the Emily Carr College of Art and Design in Vancouver BC. In 1982 he and his wife, Micheline, opened Cold Mountain Studio in Southern Oregon. His early focus was on furniture and interiors, but gradually shifted to woodturning and sculpture, moving between vessel oriented forms and sculptural turning. His work has been included in most of the major turning related exhibits of the last ten years and is exhibited widely throughout the US. His pieces are part of many public and private collections. He is also sought after as a teacher and demonstrator at craft schools and conferences and related turning events. He currently resides with his wife and two sons at the outskirts of Ashland ,Oregon.

I feel very lucky to be able to do the work I do and to be able to make a living at it. My workenables me to connect with people in unexpected ways. In this technological age, I find that people are responding to objects that are gentle, and that carry a human touch and sensitivity. I often notice peoples' reaction to my objects transcends mere skill and material and connects to the spirit and heart of the maker, a wordless connection that speaks a language that all of us can understand.

The material I use, pacific madrone burl, changes as it dries, forcing me to step back from my work and relinquish control for a short time while letting the wood find it's own shape. Madrone burl, which grows along the northwest coast of the United States, is the wildest of all the woods I know. Not only does it have a wide range of color and texture, it resists all attempts to dry evenly. Instead it warps or cracks strongly and gets very hard when it dries. In my current work of baskets, gourds and similar forms, I turn it while it is still green, while it is a pleasure to cut and handle. I make use of the warping as the wood dries to create attitude, gesture, and, when grouping these shapes togehter, relationships. The soft surface texture is a direct result of the cutting edge of my tools and light sandblasting. Most openings are slightly burnt for contrast and to enhance their looseness. When the wood is very thin, these vessels don't crack, but when the wood is left thick, the cracking can make a very dramatic effect as well. Sometimes I use a wood bleaching process to lighten the wood or remove all its color. Occasionally, I use linen thread and telagraph wire to connect elements.

My objects are an attemt to tell stories. They give glimpses of possibilities or act as metaphors serving as a transport for ideas and things alike. A little fantastic, a little odd. Some are solely because they were a lot of fun to make. They are highly unlikely with a life of their own.

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