Philipp Liehr is considered one of the leading contemporary wood sculptors in Germany. With impressive precision and artistic sensitivity, he transforms everyday moments into timeless sculptures. We spoke with him about the astronaut as a symbolic figure, his creative process, and the ideal space for his ideas to unfold.

Philipp, what does the figure of the astronaut mean to you?

Philipp: It all started with a science fiction series I was reading. The central idea was that Earth would eventually become too small for humanity, so we would have to move into space. That thought really intrigued me. I usually approach such topics with a bit of irony and humor. And that’s how the question came up: What would our everyday life look like in space? From that, the astronaut figure developed – almost like a role-playing character. I place him in banal, everyday situations that, when set in space, suddenly seem absurd. I really enjoy that. But there’s also a more serious side: If humanity really does move into space – as some scientists predict – the astronaut could become a kind of symbolic figure, almost like a saint of the future.

That comes through in your work! The astronaut often appears mystical – the suit makes the person behind it anonymous, turning them into a kind of projection surface.

Philipp: Exactly. The anonymity allows room for interpretation – who could be behind the visor? Who might it be? At first, that wasn’t something I consciously thought about, but the reactions from people opened up that perspective for me. I once carved an astronaut taking off his helmet – and underneath, there was a woman’s face. I wanted to consciously break the classic image of the male astronaut.

Could you tell us a bit about your studio? Where do you work, and what does this place mean to you?

Philipp: My studio is in Dölau, a district of Halle – in an old fireclay factory. It was pretty run-down until an eccentric former punk bought it and started renting out workshop spaces. I rent one of them. The building has an interesting history – apparently, it was once used by the Stasi. There are still old antenna masts, and the locals know the building well. It has this mysterious aura. For me, the studio is like a retreat – almost romantic. An old factory as a place of work – there’s something special about it. It’s my personal ivory tower, my place of concentration. But just working there isn’t enough for me – I also need exchange. The feedback from outside, from people who experience my art, is important to me. Halle has been the most inspiring place for me so far. It’s affordable, has rough edges – there’s friction here. This imperfection is much more inspiring to me than the smoothness and order I experienced in Munich.

What is especially important to you in the creative process?

Philipp: The spark! The moment when an idea suddenly comes to life – often through conversations or random observations. When I feel like, "This is going to work," that's when I get a real surge of energy. The actual execution can be tough at times – but when I finally put my logo on it and take photos of the finished work, there's this feeling of completion. Then I know: It was worth it. My works always tell stories – usually with a touch of humor or irony. The narrative aspect is always in the foreground. I often use characters like astronauts or cartoon-like figures – for example, my "Stripper People." The surfaces are very finely crafted, and I pay attention to many details.

How important is the material to you?

Philipp: Very important! Wood has turned out to be my favorite material. I trained as a dental technician and worked a lot with molds, concrete, etc. But wood can be shaped best for my purposes. Sometimes I combine materials – for example, with life-size figures, I cast the body in concrete and painted it white, while the clothing was made of wood. The contrast between the materials helps me tell the story.

Does your own emotional world play a role in your art?

Philipp: I usually try to keep my personal emotions out of it and instead address other topics. But there are exceptions. For example, once I carved an astronaut holding a child in their arms – that came from a very personal phase. However, I generally focus on everyday moments – situations that are easily overlooked but have special meaning for me.

Do you have an example?

Philipp: Sure – with my "Stripper People," it's about intimate moments. They undress – something that is typically private, but here it happens publicly. This makes the viewer part of a game with the boundary between private and public. With the astronauts, I take everyday scenes – like someone shaving, for instance – and place them in space. This makes them absurd, breaks the context, and creates a new perspective.

Is there a place where one of your works is particularly special to you?

Philipp: Yes, definitely! Once, one of my works was sold to the USA – just the thought that one of my figures traveled across the Atlantic was a powerful feeling. Another highlight was the Hundertwasserhaus in Magdeburg: On the rooftop garden, there are concrete birds I cast. This area is usually not open to the public – it has something secretive, almost magical.

What inspires you, where do new ideas come from?

Philipp: I have a list on my phone where I constantly note ideas. Whenever something comes to me – while walking, talking, or on the bus – I write it down right away. This list is my idea storage. It's a bit like "learning to see": The more I engage with it, the more I discover in everyday life that has the potential for stories.

Could one say that your art is like a diary?

Philipp: Interesting thought! I’ve never looked at it that way. But when I scroll through my collection of ideas, I often know exactly where I was and what I was thinking when the idea came to me. In a way, it really is like a visual diary.

Thank you very much, Philipp!

Recorded on April 3rd 2025

Artist bio and available works