In his sculptural works, but also in his two-dimensional pieces, HRW meanwhile pursues a summary of forms, an absolute abstraction towards the precision of an object's essence, be it botanical or conceptual. Not only digital works in 2D are created with this frenzy, but also sketches for metal sculptures, which in their iconic or pictogram-like simplicity have such a strong effect that one can speak of an 'essence of natural forms'.
In his 'Tree Series' the struggle for form is virtually recorded. Amorphous outlines, with variable internal markings, are replaced by the bush, composed of spherical elements, still producing an irregular outline. From '2022-014, 1989-044 Poppy dotted digitally processed' to '2022-049-1 Case Draft Sculpture', a visually strong, and in terms of content all the more surprising parallel emerges here - the patches of color extracted from the painting have manifested as steel forms and crept into space. A lush growth in spherical forms emerges, still quite unformatted. Three reds, three greens, a stick and a base - the artist has thus established the basic form of an autumnal bush. '2022-064 Baum im Blust II' has other layers that merge in color and form: the actual elements such as trunk and fruit in actual colors, and an all-enveloping green aura that loosely follows the general form independently of the interior and delineates it to the outside. The sketch '2022-067 Trellis digital Design Collage' from this series already brings to mind the characteristic of regularity, but with a clearly set-off, horizontally taut background, in front of which the wild nature writhes in its dance.
