The story

The works of Fabian Seifried, alias KUNSTWILD, exist at the intersection of nature, memory, and transformation. By using animal skulls and antlers, he places forms once created by nature into a new context, allowing them to continue to exist beyond their original existence. His artistic practice is characterized by a deep respect for life and an awareness of the fragile continuity that connects all living things.

The materials used are objets trouvés, found objects that were not created but discovered, bearing traces of time and past existence. Rather than concealing these qualities, Seifried highlights them, thereby following an aesthetic reminiscent of the principle of wabi-sabi, in which beauty lies in transience and imperfection.

Through refinement and gentle transformation, often incorporating reflective or metallized surfaces, each work is transformed from a relic into a presence. The works invite contemplation and encourage us to reflect on our relationship to nature, to transience, and to the cycles of existence.

A key example of this approach is R.I.P. (Rest in Pink). The work is based on a real mouflon skull, an object traditionally associated with strength, masculinity, death, and archaic natural force. Seifried deliberately shifts this symbolism through a precise visual transformation: the horns are lacquered in luminous pink, while the skull is held in deep black with chrome accents. What once appeared hard, dark, and martial is moved into a new field of meaning, between softness, elegance, pop culture, and quiet irony.

Pink, often associated with femininity, tenderness, and contemporary visual culture, stands in conscious contrast to the forceful presence of the animal skull. At the same time, the black chrome surface creates a reflective skin. It mirrors the viewer and turns the object into an image of the present, one in which old ideas of power, possession, gender, and identity are questioned.

The title Rest in Pink plays with the familiar phrase “Rest in Peace.” Instead of presenting death as silence or closure, the work proposes transformation as a form of continued presence. It becomes an ironic yet respectful farewell to inherited symbols of dominance, and at the same time a vivid, almost theatrical gesture of renewal. In R.I.P., death does not disappear. It is transformed into color, reflection, elegance, and a new kind of life.